Corso di Laurea magistrale

in Lingue e letterature europee, americane e

postcoloniali

Tesi di Laurea

Poetry in the Music Between

1965-1975

A decade of overlooked poetry in psychedelic

and progressive rock

Relatore
Ch. Prof. Marco Fazzini

Correlatore
Ch. Prof. Emma Sdegno

Laureando
Emanuele Colombi
Matricola 828067

Anno Accademico
2013 / 2014
TABLE OF CONTENTS

INTRODUCTION.......................................................................................................................1

PART 1: Poetry and Music .....................................................................................................4

The origins of expression ............................................................................................4

Formal differences between poem and music lyrics ............................................9

1. Tactus-based rhythm ...........................................................................................11

2. Strophic/Verse-chorus form ................................................................................15

3. Conciseness ..........................................................................................................27

4. Trivial theme ..........................................................................................................29

The merging of two languages ..............................................................................30

PART 2: Psychedelic rock ...................................................................................................35

LSD: The drug that started it all ...............................................................................35

The psychedelic experience of the Beach Boys ..................................................36

The psychedelic experience of the Rolling Stones ..............................................39

The psychedelic experience of the Beatles..........................................................41

Birth of a Genre .........................................................................................................55

The madcap – Pink Floyd’s rise and Syd Barrett’s downfall ................................64

Progressive Rock collaborations: Peter Sinfield and King Crimson ....................92

CONCLUSION ......................................................................................................................107

BIBLIOGRAPHY ...................................................................................................................110

1
INTRODUCTION

To most, drawing a line between poetry and music might seem a hopeless

endeavour. It probably is. Countless academics have tried to define one and

the other in attempt to reach a conclusive answer and a definite distinction

between the two forms of art, just to end up more confused than before. The

reason for this can be found in the very nature of the two arts, and in the hazy

line that divides them: A fair amount of poetry can undoubtedly be found in

music, and poetry itself has never been unfamiliar to musicality. Much can be

said or written without potentially achieving anything. Therefore, shedding light

in this matter is by any means not the preoccupation of this humble dissertation.

Instead, the following pages intend to simply try to reveal how the beauty of

poetry can be found even in the most surprising circumstances.

The first part of this writing will try to identify and distinguish the features

commonly associated with poetry and those associated with music, putting the

emphasis on all tendencies which have been noted throughout history and

which differentiate the two arts, and on what brings them together. After all,

both use the power of words and sounds in order to express feelings or to

convey a message. Frith (1983, 35) writes that in songs, words are the signs of a

voice. A song is always a performance and sung words are always spoken out,

a vehicle for the voice structures of sound that are direct signs of emotion and

marks of character. But is this not true also for poetry? A poem plays with the

sounds and meanings of language just as much as every song lyric does and to

some extent it can be even argued that every poem ever written was not

written for the page but for the voice, just like songs. And it will be disclosed

how the resemblances stretch even much further than that.

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This brief dissertation aims to spend a few words on a little portion of the

precious literature that is never taught in school, speaking of the elements

which are necessary to fully understand it, and explaining why it is appropriate

to write about them.

More specifically, the second, more practical part, will try to apply the

concepts of the first to actual song lyrics, and in this case, of psychedelic rock

songs. It is an unusual enterprise, but a potentially purposeful one, when thinking

that the aim of the paper is the attempt of rightfully unveiling the poetry that

finds no place in schoolbooks, and that can be found in the most surprising

places.

It will be explained how the psychedelic experience changed the rules of music

in the mid-60s, giving birth to a new approach to songwriting which in turn

started a chain reaction of innovation and experimentation in music leading to

countless new genres and sub-genres. As a matter of fact, it has been noted

how psychedelics influenced songwriting in general from the approach to

sound and music, to the approach to the actual writing of the lyrics, which

have experienced a turn towards the mature even in mainstream popular

music. It will be disclosed how lyrics of already famous songwriters became

more intense, how newly founded bands started to conceive themselves as

artists and every aspect of their music –lyrics included- as art, and even how

bands relied on the hand of actual poets to give added value to their

creations. Notable artists of the movement will be contextualized and

discussed, and examples from the discography of the discussed artists and brief

analysis thereof will provide proof of the poetic value of the lyrics.

3
PART 1: POETRY AND MUSIC

THE ORIGINS OF EXPRESSION

Since its early beginnings, mankind has always felt the need of communication.

More specifically, human beings have started to use more or less articulated

vocal sounds to express their feelings and interact with their kind. Before the

dawn of the first concrete words, it was surely common for a primitive man to

express his anger through shouts and roars, his amusement through laughter, his

pain through squeals or his fear through screams. In short to communicate

through sounds. La Via (2006; 23, 24) suggests that it could be quite safe to

assert that the need of singing was felt and contented much before the advent

of words, by arranging a systemized melodic succession of sounds, howls and

moans. The concept of “singing” as we know it, i.e. uttering words organising

them with a certain degree of melodic and rhythmic consciousness comes

later, and as Sachs (1943; 59) puts forward, the purpose of spoken language

and the purpose of singing tread separate paths for quite some time, even

though it is still not clear whether the emotion-driven expression was attributed

to singing and the communicative one to speaking, or vice-versa. Also, it can

be argued whether the first manifestations of musical expression were

pathogenic (i.e. fuelled by feelings and the urge to express them) or logogenic

(i.e. strictly purpose-born and straightforwardly communicative).

Nonetheless, history has shown how the two worlds of speaking and singing

have always been under the effect of a magnetic attraction. Despite the clear

separation in their origins, the two forms of communicating seem to have soon

4
merged in every culture, all over the world and all throughout history, giving

birth to a new, more sophisticated human need: the one of singing the words.

To summarize, it can be quite safe to assume that music appeared on earth

before poetry did, and that it bore the functions that poetry would later help to

bear: to express feelings, communicate and convey meanings.

However, it cannot be denied that words do have a natural musicality, even

when not expressly sung; thus, the appearance of poetry as we know it, had

never been far away. In fact, it can be argued that poetry might even have

been a spawn of music, or better, of the rhythmic and melodic organization of

sounds and words, which had always been an innate aptitude and urge of the

human being. As a matter of fact it appears that the first recorded poems were

hymns or prayers, and only later became historical narrative, means of

storytelling and even love songs, slowly evolving into the written poetry as we

know it today, once again somewhat estranged from what is meant to be

sung, from what we call the “lyrics” of a song, which brings us to the next issue.

Lindley (1985; 1, 2) provides us with his viewpoint on this matter starting from the

term “lyric”. It is undoubtedly an interesting perspective, since, as he points out,

the term had always been quite ambiguous, serving as a universal definition for

poetry in contrast with drama or prose, but also as a definite classification of

one clear-cut poetic genre. Moreover, in modern mass-culture, the word is

extensively used by the wide majority of the population when referring to the

words that constitute the verses and choruses of a song. This can be regarded

as some sort of return to its roots, since the term, derived from the Ancient

Greek tradition, originally referred to a series of verses sung to the sound of a

lyre, opposed to epic and drama, which were, respectively, recited and

spoken. With the passing of time, the term gradually lost this specificity and
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academics have since tried to find an agreement upon what is contained in

the concept of lyric; it appears that an agreement has been found,

recognizing three qualities as characteristic of the lyric. Unfortunately, none of

these traits are definite. Let us see why.

Firstly, it occurs that a lyric implies a first-person speaker who, usually, uses the

words to express his feelings and emotions. Indeed this feature can easily be

regarded as true. Let us take the work of an artist who is universally regarded as

one of the first and most important lyricists of all time: Sappho, one of the most

important classic poets, who lived in the 6th century B.C. Today, the majority of

her work has been lost, but the surviving works are famous for their introspection

and contemplation, and such features are no stranger to the average lyric-

writing poets:

I have no complaint
Prosperity that
The golden Muses
Gave me was no
Delusion: dead, I
Won't be forgotten

Sappho, translation by Bernard (1958)

In her work, Sappho shows a great loyalty to the literary device of a marked

“Lyric I” presence, with a genuine and captivating declarations of strong

feelings and emotions, usually imagining a divinity or another human as

interlocutor. There is much space for psychological contemplation and

recalling of emotion-conjuring memories, and her work is one of the first records

of feelings of love from a woman’s perspective. However, this is a problematic

aspect: despite being a very simple and straightforward feature, the first-person

speaker is such a common literary device that it would be wrong to assume

that every first-person poem counts as lyric. Equally wrong would be the

6
excluding the entirety of poetry that does not involve a first-person viewpoint

from the definition of lyric. Even in ancient Greece, lyrics were subdivided in two

branches. On the one hand the more intimistic lyrics, such as Sappho’s, meant

for the singing of one person in combination with the sound of a lyre. On the

other hand the choral lyric, which is usually commissioned to the poet and

which calls for the performance of a choir during official ceremonies, such as

weddings or various kind of celebration. Both these types of compositions can

be called lyrics and are written by classical lyricists, but do not have the above-

mentioned trait in common. Examples of discrepancies between this feature

and the actual facts can however be found also in more recent times: many

lyrical poets who do not necessarily belong to classic tradition, such as Thomas

Hardy, have put much effort in detaching themselves from the poem.

Therefore, this characteristic alone cannot be expected to be sufficient to

define lyric.

Secondly, a lyric is supposed to deal in present tense, often applied to the

expression of the immediate feelings dictated by the circumstances, to the

description of occasions of great consciousness. Another Greek classic lyricist,

Pindar, (translated and commented by Miller, 1996) can easily be used as

example. His work, among all lyric writers in ancient Greece, and even among

the circle of nine melic poets (of which also Sappho was part) counts as the

best-preserved and is marked by in incredible sense of immediacy and

closeness in his celebrations of victory and contemplative lyrics. Equally

common are his personal reinterpretations of myths and legends, but also his

victory odes written for more trivial events, most times using the facts at hand as

starting point, and imprinted by the present tense.

One ought, my heart, to cull desires

In season, in youth’s prime.
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 And yet whoever, catching sight of the flashing
Radiance
Of Theoxenos’ eyes,
Does not surge with longing, that man’s murky heart
Must have been forger from adamant or iron

by a cold flame: held in dishonour

by quick-glancing Aphrodite,
he either toils compulsively for money
or by women’s impudence
is carried along a path of utter coldness, doing
service
But I, stung through that goddess’s power, melt like the
Wax

of holy bees in the sun’s heat whenever I look

on the youth and freshness of boys’ limbs.
On Tenedos too, it seems,
Attraction dwells, and Charm,
in the person of Hagesilas’ son.

This ode is dedicated to the celebration of the beauty of Theoxenos, a young

man from Tenedos, Asia Minor. Critics assume that this kind of praise-poem was

intended to be performance in the context of a symposium, and called it

“enkomion”. It is clear that it is all written in present tense: the poet starts from

the perceiving of the young man’s beauty and builds his verses on the

description of the feelings such beauty generates in the observer, describing

how all those who are not affected by the power of his charm are either

supremely materialistic or stringently, numbly heterosexual. There is also space,

in the last few lines, for the poet’s own feelings: as he discloses how he “melts

like wax” every time he sets his eyes on young Theoxenos.

It would appear that the present tense, with its sense of closeness and

immediacy, is the perfect basis for a lyric, since it allows the poet to start from

his direct experience to express what the circumstances make him feel.

Yet this postulate is also quite sluggish. On the one hand it would appear that

this feature simplifies excessively the idea of lyric, drastically reducing the

8
exceptional poetic value of many lyrical efforts. On the other hand, if taken

literally, this feature would exclude all narrative poems, many of which have

always been doubtlessly regarded as lyrics.

Thirdly, a lyric is generally associated with brevity and straightforwardness: a

lyric must be short. But once again we are dealing with a shallow idea. The term

“short” is much too equivocal to be effectively used when speaking about lyric.

Moreover, it would be wrong to exclude all lyrics which are commonly

considered “long” from our list: even Pindar, who counts as one of the most

relevant classical lyricists is famous for the length of his compositions.

As a way of escaping these conceptions, Lindley suggests to consider the term

“lyric” as some sort of domain which comprises several sub-genres, ranging

from pure introspective poetry, to dramatic monologues, allowing for flexibility

in the evaluation through the analysis of every poem contextualized in its own

historical moment, which is a critical discriminating factor.

FORMAL DIFFERENCES BETWEEN POEM AND MUSIC LYRICS

Even when letting go of the very common presumption that lyrics are poems

meant to be sung, we still have centuries of history in which there is a clear

distinction between such poems and lyrics which, when written, were not

supposed to be put to music. When analysing texts belonging to both these

categories, a question comes to mind. Is it possible to spot formal features and

differences which can clearly disclose to which category a text belongs to?

Once again, the answer is negative. However there are several recurring

patterns and characteristics which could help to do so.

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Let us start with the assumption that music, and, consequently, a text which is

supposed to be set to it, triggers reactions in the listener that are completely

different from those triggered from the listening or reading of a poem. Rhythm

and meter in music are tied more strictly to the natural pulsations of the human

body. When listening to music, even if only passively, the listener is instinctively

drawn to move: one might nod their head or tap their foot, not to mention the

common impulsive reaction which even moves many to dance. Both those

who sing poems and those who merely put their words to music without the

meticulous attention which would be expected from the writing of an actual

poem usually create a much deeper bond with what they say, by relating all

they say to their essential human vibrations, to their more or less conscious

breathing, their heartbeat. Spontaneously adapting the agogic stresses (i.e.

rhythmic emphases) of the text to their psychological, emotive state. As a

consequence, in musical cadence, just like in poetry, even though there always

is a complete freedom in the rhythmic choice of meter, which can potentially

be totally free, there usually is a tendency of choosing a logical, almost

mathematically calculated form. This is partly due to the fact that musical

sensitivity in the human being is closely tied to the intellect, to the need of

giving logical order to the flow of sound. The oldest testimony of this fact is the

finding of a series of clay tablets in Syria in the 1950s, which are supposed to

date back to the 15. Century B.C. Once analysed and interpreted, the tablets

unveiled a melodic progression built on a diatonic scale, which even presented

harmonies, proving that all scientists were wrong when they attributed the

creation of scales and harmonic sensitivity to much later times. This suggests

that the strive of searching and finding a way of organizing sounds and

creating music has always been an innate feature of the human being. On a

more practical terrain, the attempt to achieve this almost mathematical

10
 precision and fixed musical rhythm is mostly believed to be conceived, or at

least ostensibly manifested for the first time with the birth of polyphony.

Obviously, the organisation of several individuals who simultaneously contribute

with their performance to the outcome of the same act requires a certain

amount of organization. As a consequence, the need was felt for an

introduction of universally recognized, measurable regulations and commonly

understandable guidelines from the melodic/harmonic point of view, as well as

from the rhythmic/metric one. Since this paper does not focus on the purely

harmonic and melodic aspect of musical lyrics, but much rather on the words

that are set to music, the attention will be put mainly on the rhythmic aspect of

the texts.

1. TACTUS-BASED RHYTHM

This small digression was necessary to introduce one of the main features of

musical lyrics, which is one of the essential requirements for a tune which can

be considered euphonious, or, using a more down-to-earth term, “catchy”: a

tactus-based rhythm. To explain the concept of “tactus” it is necessary to

digress once again, and picture the renaissance, when for the first time the

urge was felt to organize and universally measure rhythm and cadence.

Starting from the heartbeat pulse, an absolute, global, precise duration of a

beat was instituted, in order to allow a comprehensive measurement of rhythm

to be learned and, more importantly, to be performed. The idea of “tactus”

can be put down simply as an ancestor of the metronome, which is just a

mechanical aid that was invented later and absolutely and totally defined and

unified the measurement of rhythm and metre.

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However, this type of measurement alone does not necessarily define what is

commonly understood with “metre”. In order to create a pleasing, resonant,

euphonic text, the precise and linear beats of the tactus must be merely used

as a structure, a starting point to give life to a different organisation of accents

and sounds, which will be coherent on and with its own, but on a different level,

thus creating what is generally called the “beat”. Strictly speaking, composers

and songwriters have countless tools at their disposal to create a unique rhythm

starting from the mere, linear ticking of a metronome, but whatever beat they

invent must necessarily have a logic of its own. Keep in mind that this is only a

tendency observed over the years, and that the exceptions are numerous and

manifold. For example many of Bob Dylan’s texts bear great discrepancies with

the music they are sung onto.

Assuming that the writing of a text, which is written to be set to music kicks off

from this basis, the whole text will be enormously and inevitably influenced by

the quest for this apparently more logical, analytical order; in other words,

when compared to a pure poem, a text written for music will probably display a

more tangible yearning for a definite anatomy of verses, for an easily

comprehensible subdivision of accents, for a clear, euphonic order of regular

stresses.

To clarify, Marlowe’s poem “The Passionate Shepherd to His Love” will be taken

as example, since it has been put to music by Annie Lennox in the album

“When Love Speaks”. The original, written by Christopher Marlowe in the 1590s,

is one of the most famous love poems of English culture, written in the poet’s

final years. The form is the one of iambic tetrameter and each stanza is

composed of two rhyming couplets.

Come live with me and be my love,

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 And we will all the pleasures prove,
That Valleys, groves, hills, and fields,
Woods, or steepy mountain yields.

And we will sit upon the Rocks,

Seeing the Shepherds feed their flocks,
By shallow Rivers to whose falls
Melodious birds sing Madrigals.

And I will make thee beds of Roses

And a thousand fragrant posies,
A cap of flowers, and a kirtle
Embroidered all with leaves of myrtle;

A gown made of the finest wool

Which from our pretty lambs we pull;
Fair lined slippers for the cold,
With buckles of the purest gold;

A belt of straw and ivy buds,

With coral clasps and amber studs;
And if these pleasures may thee move,
Come live with me, and be my love.

The shepherds' swains shall dance and sing

For thy delight each May morning:
If these delights thy mind may move,
Then live with me and be my love.

In 2002 EMI classics publishes a CD in which a collaboration of various actors

and musicians reads or performs Shakespeare’s sonnets with a musical

background. “The Passionate Shepherd to His Love” finds place in this

collection, since, as a matter of fact, Shakespeare worked on a re-writing of

Marlowe’s text, which resulted in an almost identical poem, with some tweaks in

the ending, entitled simply “Live With Me and Be My Love”. It is exactly this

poem that Lennox decided to work on. The rendition by Annie Lennox features

a minor re-writing of the first three stanzas, and cuts out the final three.

Live with me and be my love,

And we will all the pleasures prove
By hills and valleys, dales and fields,
And all the pleasant pastures yields.

There will we sit upon the rocks,

And see the shepherds feed their flocks,
By shallow rivers, by whose falls
Melodious birds sing madrigals.

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 There will I make thee a bed of roses,
With a thousand fragrant posies.
By shallow rivers, by whose falls
Melodious birds sing madrigals.

Apart from cutting away great part of the poem, the variations Lennox brings

about in her rendition of the text are minimal, and are aimed to give the song a

more linear metric structure, or to provide the text with more “singable”, vocal

sounds. As a matter of fact, line 3, for example, which is the line that most

differentiates itself from one version to the other, might be slightly easier to be

sung in Lennox’ version, where the new word order and the introduction of one

more “and” render the act of singing the line easier and the sound of the words

more euphonic. But that is not all, the main difference between the two

versions lies in a matter which cannot be discerned from the plain reading of

the two texts. Since Marlowe did not plan his composition for the singing, the

plain text of his work is all that is necessary for the reader to read and

understand or recite. Readers around the world will interpret and deliver

Marlowe’s work in their own way, reciting the poem with the intensity, volume,

speed, stress and character they find more suitable, giving live to almost infinite

potential interpretations of the text. Lennox, in contrast, has written a score for

the poem. When reading the score, or, more obviously, when listening to the

song, there is much less space for imagination. Lennox chose a beat and put

the text in a three-beats-to-the-bar tempo, in order to make the most of the

iambic form of Marlowe’s lines, and wrote a melodic line for the lead voice to

sing, as well as writing the parts for all instruments, organizing the arrangement

of the song in the way she considered to be more efficient. The effective

possibility of writing down and thus setting all these variables allows for great

precision in the performance of every song, making it possible to perform the

14
 song the exact way it was meant to be performed, an effort that would be vain

with the reading and staging of a poem.

This is just one of the many small elements that constitute the “magic” of music,

which, in order to work at its best, must be clearly organized. As a matter of

fact, exactly the features of this necessary organization are the ones which

most clearly diversify a musical lyric from a purely poetic text. The list goes on,

however it cannot be stressed enough that each and every one of these

features cannot be regarded as absolutely discriminating and distinctive, even

though the greater part has been proven to reoccur in several historical times in

disparate places and cultures, therefore suggesting a somewhat reliable

pattern.

2. STROPHIC/VERSE-CHORUS FORM

One of these recurring features of musical texts is the marked strophic form. As

a matter of fact, it can be argued that, along with the above-described clear

metric regularity , a text which is written for music usually exhibits a clear, regular

and recurrent structure in its number and grouping of lines, presenting a

symmetric pattern to be followed by the writing –and performing- of the lyric. In

other words, a poem meant for singing (especially in modern times) is very likely

to be subdivided in what is commonly called a series of verses, often interposed

with a so-called chorus.

At this point, another brief excursus is needed. When confronting the figure of a

pure poet, to the one of a composer or songwriter, it must be noticed how

different their approaches to literature actually are. La Via (2006) points out

that the pure poets have their language at their complete disposal. They are

free to use whatever artistic and literary means to express what they want to,

15
and, as a consequence, make their work achieve an unmatched literary value.

The songwriter, on the contrary, has the “restraint” of having to come to terms

with another, parallel “language”, the one of music, which comes with its own

rules, conventions and restrictions, and which must necessarily be applied to

the writing of the text. As a consequence, it might seem logical that it should be

harder for a songwriter to create a lyric with a poetic value comparable to a

pure poem. It is clear, and the examples are countless, that also this statement

is not true on all levels, but it is nonetheless worth stating, since all the features

which will be discussed in these chapters can be regarded as the above-

mentioned “restraints” of a songwriter, which, more often than not, reflect

themselves in the greater part of the world’s musical production .

Let us return to the concept of verse and chorus, and be more specific: the

language of music is very much based on repetition and redundance. Let us

bear in mind that one of the main functions sung lyrics were employed for in

their origins, was to make it easier to memorize long texts. Meaning and sound-

based rhetorical figures aimed to the simplification of the effort of learning a

text by heart. Moreover, in general, a musical text is meant to be performed.

Repetitions and recurrences in structure belong to the very nature of music,

and in order to make any tune easier to memorize the redundancies must be

as continuous as possible. As a consequence, lines tend to repeat themselves

keeping a steady metric module in their syntactic articulation, and verses

always present the same number of lines throughout the lyric, as well as

maintaining the same metric and rhyme scheme. This approach does not only

simplify the work of those who will have to memorize and perform the song, but

also the work of the songwriter, who has the possibility to apply the same music

to every verse. In other words, the rhythmic, melodic and harmonic progression

16
of a stanza can potentially be “copied” and “pasted”, to all stanzas of the

song.

This concept of redundance is even more apparent when speaking about the

notion of chorus. The chorus, or refrain, consists in one or more lines in a song

which are repeated in various sections of the song, between the various verses.

Most times, it stands out from the verse by presenting a different melodic,

rhythmic and harmonic structure, in addition to raising the dynamics of the

song for its duration. Moreover, in popular music, it is the chorus, which,

practically always, contains the so-called “hook” of the song, i.e. the

catchphrase, the line (or instrumental riff) which is meant to attract the listener’s

attention: repetitive, catchy, easy to memorize and to dance to, and usually

gives the name to the song. In almost all cases, the chorus does not vary its

words throughout the song, and even the differences in arrangement are

usually minimal.

Countless musical genres throughout history have widely adopted the strophic

or the verse-chorus form; to those familiar with it, the structure is almost obvious

and effortless to recognize, and, as a consequence, it is equally easy to classify

a lyric written in such form as a song text by simply looking at it. This is especially

true when dealing with modern popular songs.

A good example for a contrasting verse-chorus form, in which the music for the

verse differs from the music of the chorus, is The Beatles’ world-famous hit “All

You Need Is Love", or Deep Purple’s legendary song “Smoke on the Water”. Let

us put the latter under exam.

We all came out to Montreux

On the Lake Geneva shoreline
To make records with a mobile,
We didn't have much time

17
 Frank Zappa and the Mothers
Were at the best place around
But some stupid with a flare gun
Burned the place to the ground

Smoke on the water, fire in the sky

Smoke on the water

They burned down the gambling house

It died with an awful sound
Funky Claude was running in and out
Pulling kids out the ground
When it all was over
We had to find another place
But Swiss time was running out
It seemed that we would lose the race

Smoke on the water, fire in the sky

Smoke on the water

We ended up at the grand hotel

It was empty cold and bare
But with the Rolling Stones truck thing just outside
Making our music there
With a few red lights and a few old beds
We make a place to sweat
No matter what we get out of this
I know we'll never forget

Smoke on the water, fire in the sky

Smoke on the water

Identified with simple italics is the verse, in bold italics the chorus. Those familiar

with the song will immediately observe how different the verse and the chorus

undeniably are. The chorus is much shorter, the chords are different, the energy

is much higher and the notes on which the words are sung are much more

sustained than in the verse. The verse, in contrast, is much more rhythm-based

and discourse-like, the intensity of both the sung melodic line as well as the

instrumental track is contained. Notice also how the chorus of the song not only

contains the hook (in other words, the line which is supposed to be noticed and

remembered by the listener), but is composed almost entirely by its repetitions.

This structure can be found in almost the entirety of modern mainstream songs,

which appears to be the most enjoyed form of lyric in recent times.

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Indeed, the last century seems to have been dominated by mainly one genre

of poetry set to music: exactly the “song”, marked by the above-mentioned

strophic structure. Such mainstream genre, today, seems to be the most

enjoyed type of lyric.

To make the matter clear, and at the same time, to provide an example for a

strophic form in which the refrain is contained in the verse, two examples of

ancient ballads will now be provided, which have been re-interpreted in

modern times. The objective of the comparisons will be not so much the

highlighting of the differences, but to show how crystallized and always actual

the form they are written in appears.

The first example, which will be taken under inspection, is the Anglo-Scottish

ballad “Lord Randall”, which, has been reworked by Bob Dylan in order to

convey a different message, but using all typical rhetorical figures of the

ancient ballad in order to create a particular nostalgic atmosphere. In his early

works Bob Dylan was no stranger to the reinventing of old ballads to suit his

message. The traditional Scottish ballad “Lord Randall”, probably deriving from

the late middle ages, tells the sad story of a nobleman who is poisoned by his

mistress, and recounts the events to his mother as he gets home from the

meeting feeling sick and weary. The first stanza of one of the most popular

versions goes as follows:

O where ha you been, Lord Randal, my son?

And where ha you been, my handsome young man?
I ha been at the greenwood; mother, mak my bed soon,
For I'm wearied wi hunting, and fain wad lie down.

The story is slowly disclosed in this question-answer structure with the same

crystallized sets of word in the same place in every stanza. The most famous

19
version of the ballad is composed by 10 stanzas, identical in their structure: in

fact, it is typical for the ballad to be composed by short stanzas of two or four

lines, using simple language. Moreover, rather than relying solely on words, it

was common for Balladeers to use stocks of phrases, repeated and combined

in other ways. As shown in the next bit, little changes from one stanza to

another.

An wha met ye there, Lord Randal, my son?

And wha met ye there, my handsome young man?
O I met wi my true-love; mother, mak my bed soon,
For I'm wearied wi huntin, and fain wad lie down.

And what did she give you, Lord Randal, my son?

And what did she give you, my handsome young man?
Eels fried in a pan; mother, mak my bed soon,
For I'm wearied wi huntin, and fain wad lie down.

This kind of repetitions, called “refrains”, are a fundamental aid to the

balladeer's memory, chanters who were supposed to tell the tale faithfully by

the only means early ballads were recounted: oral transmission among the

country people. This makes this kind of ballads difficult to date, since the first

datable written collections were composed very late.

Notice the structure of the ballad: all stanzas are identical in their length and

metric composition, with the same number of lines in every verse and the same

number of feet in every line. This is a clear example of strophic structure.

Bob Dylan composed the song “A Hard Rain's A Gonna Fall“, which appeared

in the album “The Freewheelin’ Bob Dylan” in 1963. The song is still identifiable as

a ballad, starting off from the structure and refrain of „Lord Randall“, but with a

few tweaks. First of all, the protagonist of the ballad is not poisoned by his lady,

but laments on how humanity and the whole world are poisoned, evil and

20
wicked. The big difference is in the structure. The horrors and experiences of the

lyric I's visions are too many to be contained in the simple four-line stanzas of

the original ballad. Instead, Dylan decides to make the speaker exceed in his

lines. When he is asked what he has seen, what he has heard, who he has met

and what he will do he gradually uses more and more lines to explain it

gradually increasing the asymmetry of the ballad with each successive verse:

Oh, where have you been, my blue-eyed son?

Oh, where have you been, my darling young one?
I’ve stumbled on the side of twelve misty mountains
I’ve walked and I’ve crawled on six crooked highways
I’ve stepped in the middle of seven sad forests
I’ve been out in front of a dozen dead oceans
I’ve been ten thousand miles in the mouth of a graveyard
And it’s a hard, and it’s a hard, it’s a hard, and it’s a hard
And it’s a hard rain’s a-gonna fall.

Oh, what did you see, my blue-eyed son?

Oh, what did you see, my darling young one?
I saw a new-born baby with wild wolves all around it
I saw a highway of diamonds with nobody on it
I saw a black branch with blood that kept drippin’
I saw a room full of men with their hammers a-bleedin’
I saw a white ladder all covered with water
I saw ten thousand talkers whose tongues were all broken
I saw guns and sharp swords in the hands of young children
And it’s a hard, and it’s a hard, it’s a hard, it’s a hard
And it’s a hard rain’s a-gonna fall.

[…]

Oh, what’ll you do now, my blue-eyed son?

Oh, what’ll you do now, my darling young one?
I’m a-goin’ back out ’fore the rain starts a-fallin’
I’ll walk to the depths of the deepest black forest
Where the people are many and their hands are all empty
Where the pellets of poison are flooding their waters
Where the home in the valley meets the damp dirty prison
Where the executioner’s face is always well hidden
Where hunger is ugly, where souls are forgotten
Where black is the color, where none is the number
And I’ll tell it and think it and speak it and breathe it
And reflect it from the mountain so all souls can see it
Then I’ll stand on the ocean until I start sinkin’
But I’ll know my song well before I start singin’
And it’s a hard, it’s a hard, it’s a hard, it’s a hard
It’s a hard rain’s a-gonna fall.

Bob Dylan takes on highly poetic themes and does so by conveying a series of

striking and dramatic images in the somewhat “outdated” structure of the

21
ballad form, which is famous in popular culture for being used for very basic

storytelling and simple entertainment. The contrast is evident, especially if the

listener knows the original text. Even though we can still identify a verse and a

refrain, the structure is warped and modified to suit the balladeers’ message.

We can still identify a strophic structure, but in this case the term is quite

unreliable, since there are many major, substantial differences between all of

the verses. Moreover, these modifications clearly make the text much more

difficult to memorize.

The other example describes a much more linear and faithful approach to the

ancient ballad. The Ballad of Barbara Allen originated in Britain, like the majority

of ballads, and thanks to its popularity survived in time and spread out

worldwide, giving birth to countless variations not only in the structure and

sound of the song, but even in the plot. The most common storyline involves a

young man who is dying of love of Barbara Allen. Barbara is brought to him by

the young man’s servants in order to soothe his pain, but once she arrives, she

mocks him and leaves. Shortly after the young man dies, and at his funeral, as

the death bells toll, Barbara is struck by a strong sense of guilt and grows ill,

feeling that her own end is nigh. After her death, the two lovers are buried one

beside the other, and the song ends with the recurrent “rose-briar” design,

common in medieval ballads, in which a rose and a briar grow out of the

graves, bloom and twine together, symbolizing true love and loyalty even after

death. There is no “original” version of this ballad either, since for decades,

even centuries it was transmitted only orally, leading to hundreds of versions.

However, the differences are often minimal. Let us compare three versions. The

first, courtesy of the English Broadside Ballad Archive, is a print dating back to

22
 the mid-16th century. The second and third, are very recent renditions by Joan

Baez and Art Garfunkel, dated 1961 and 1973 respectively.

ANONYMOUS, 16th century BAEZ, 1961 GARFUNKEL, 1973

In Scarlet Town where I was bound,

There was a fair Maid dwelling,
Whom I had choosd to be my own,
Her name was Barbara Allen.

All in the merry Month of May, Twas in the merry month of May All in the merry month of May,
When green leaves were a springing When green buds all were swelling, When green buds all are swellin'.
This young Man on his Death-bed lay, Sweet William on his death bed lay Sweet William on his deathbed lay
For love of Barbara Allen. For love of Barbara Allen. Ffor love of Barbara Allen.

He sent his Man unto her then, He sent his servant to the town He sent his servant to the town,
To Town where she was dwelling, To the place where she was dwelling, The place where she did dwell in.
You must come to my Master dear, Saying you must come, to my master dear Saying, "Master dear has sent me here
If you be Barbara Allen. If your name be Barbara Allen. If your name be Barbara Allen."

For Death is painted in his Face,

Sorrows in him are dwelling;
Thou must come to my Master dear,
If you be Barbara Allen.

If Death be painted in his Face,

And Sorrows in him dwelling;
Then little better shall he be,
For bonny Barbara Allen.

So slowly, slowly, she came to him, So slowly, slowly she got up Then slowly, slowly she got up
So slowly she came to him, And slowly she drew nigh him, And slowly she went to him,
And all she said when she came there, And the only words to him did say And all she said when there she came was
Young Man I think youre dying. Young man I think you’re dying. "Young man, I think you're dying.

"Don't you remember the other night

When we were in the tavern?
You drank a toast to the ladies there
And slighted Barbara Allen."

He turned his Face unto her then, He turned his face unto the wall He turned his face unto the wall,
If you be Barbara Allen; And death was in him welling, He turned his back upon her.
My Dear, said he, come pity me, Good-bye, good-bye, to my friends all "Adieu, adieu, to all my friends.
On my Death-bed Im lying. Be good to Barbara Allen. And be kind, be kind to Barbara Allen."

If on your Death-bed you be lying,

Whats that to Barbara Allen;
I cannot keep you from grim Death,
So farewel Barbara Allen.

He turnd his Face unto the Wall,

And Death came creeping to him,
Adieu, adieu, and adieu to all,
Adieu to Barbara Allen.

And as she was walking one Day,

She heard the Bells a ringing,
And they did seem to ring to her,
Unworthy Barbara Allen.

She turnd herself round about,

And spyd the Corpse a coming,
Lay down, lay down the corpse, she said
That I may look upon him.

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And all the while she looked on,
So loudly she lay laughing;
While all her Friends cryd out amain,
Unworthy Barbara Allen.

When he was dead and laid in grave, When he was dead and laid in grave As she was wandering on the fields she
Then Death came creeping to her. She heard the death bells knelling heard the death bell knellin'.
Oh Mother! Mother! Make my Bed, And every stroke to her did say And every note, it seemed to say,
His Death doth quite undo me. Hard hearted Barbara Allen. "Hard-hearted Barbara Allen!"

The more it tolled the more she grieved,

Hard hearted Creature that I was,
To slight one that lovd dearly;
I wish Id been more kind to him,
In Time of his Life when near me.
So this maid at last she did die,
Who would be buried by him;
Repented herself before she dyd,
That eer she did deny him.
As she was lying down to die,
A sad feud then she fell in;
She said, I pray take warning by
Hard hearted Barbara Allen.
She bursted out a-crying.
"Oh, pick me up and carry me home.
I fear that I am dying."
Oh mother, oh mother go dig my grave
Make it both long and narrow,
Sweet William died of love for me
And I will die of sorrow.
And father, oh father, go dig my grave
Make it both long and narrow,
Sweet William died on yesterday
And I will die tomorrow.

Barbara Allen was buried in the old
churchyard
Sweet William was buried beside her,
Out of sweet William’s heart, there grew a
rose
Out of Barbara Allen’s a briar.
They buried Willy in the old churchyard and
Barbara in the new one,
And from William's grave, there grew a rose
From Barbara's, a green briar.

They grew and grew in the old churchyard They grew and grew in the old church yard
Till they could grow no higher Till they could grow no higher,
At the end they formed, a true lover’s knot And there they tied in a true lover's knot,
And the rose grew round the briar The red rose and the briar.

The diagram-like comparison above makes it very easy to spot the many little

differences in the plot presentation, depending on what the artist wanted to

focus on. The older version, in addition to being written in a sensibly older

language, has no sign of the rose-briar finale, whereas Baez introduces two

stanzas in which the repented Barbara deplores her mistakes with her parents

and foresees the consequences of her actions, while Garfunkel mentions

another recurrent episode of this ballad that the other two versions of this

comparison do not mention: the protagonists’ encounter at the tavern in the

previous night. Moreover, we have very little insight on what the rhythmic,

harmonic and melodic structure of the older rendition might have sounded like,

24
while Baez and Garfunkel, having had the appropriate knowledge and

technologies, have arranged and recorded the song. Baez used the typical

songwriter/balladeer approach, opting for a simple acoustic guitar + voice

construction, which, in addition to being very effective in conveying the

appropriate atmosphere for the song, is also very traditional, and potentially

bears many resemblances with what it may have sounded like when performed

by a balladeer in more ancient times. Garfunkel, instead, preferred a more

orchestral approach, choosing strings and flutes for the instrumental track, and

doing, perfectly in line with his particular style, many takes for harmonies in the

vocal line, providing for a more operatic feel.

Apart from the differences in the plot presentation and musical arrangement,

however, there is very little difference between the three versions, especially

when looking only at the lyrics. As a matter of fact the three texts are

constituted by a variable number of four-line-stanzas with rhymes or imperfect

rhymes in the second and fourth lines. Moreover, each stanza ends with

“Barbara Allen” or a word construction that bears strong resemblances to it,

which can be regarded as our refrain. These intense similarities may hint to the

fact that there is a strong continuity in history for what concerns the structure of

songs. The above mentioned structure strophic structure would be equally

regarded as perfectly normal both by a listener of the middle ages and a

listener today, suggesting that in the very nature of the strophic form lies the key

of popularity, of universal approval.

But what are the consequences of the popularity of this structure?

Today, it even seems that, in its most popular expressions, all musical lyrics

conceived for mass consumerism, those which often abuse all kinds of

25
publishing channels (discographic distribution, internet, radio, television) for

advertising and spreading the song’s notoriety, are written solely in this form.

La Via once again points out that the “song” has gained an inferior

connotation in modern times, as the more educated spheres of musicophiles

refused to give into the digesting of a musical genre made for the average

street consumer, and which, in truth, is often frivolous, elementary, and in more

recent times often even inappropriate. Thankfully, the song is a flexible and

adaptive type of musical expression, and many of the following features make

the song an almost universally beloved genre.

First of all, there is immense freedom and flexibility in the choice of musical

arrangement and style. Since its very origin, the song has spawned an

abounding variety of approaches, a multiplication which has been particularly

generous in the last century, culminating in the almost exponential increase of

countless sub-genres which, in time, spawned even other, more specific styles,

are sure to be found appealing by almost everyone. Moreover, globalization

has made local or exotic musical instruments world-famous, giving songwriters

and arrangers much more choice over the years. Technical breakthroughs over

the years have also drastically increased a musician’s possibilities: some notable

examples can be the invention of the electric guitar or of electronic sampling

tools, devices which, in different periods, have undoubtedly provided the music

industry with a ground-breaking array of new possibilities and sounds, further

expanding the opportunities to arrange and make genres influence each

other. Furthermore, the industrialization of musical instruments and tools such as

mixers, speakers or digital sequencers, made the art of music-making widely

available to the public, dramatically increasing the number of music enthusiasts

26
 and potential songwriters over time, and therefore sustaining the flourishing of

countless ideas, styles and stylistic novelties.

These differences in style translate also in how the text for a song is written. Rock

and pop musicians may prefer constructions with many “singable” vowels to

intone and sustain, while rap artists do not perceive this need, since their lyrics

are mostly spoken rhythmically and rapidly, and rarely sung.

Furthermore, the differences in style and genre may often influence not only the

form, but also the topic of the songs. For example, a rap song is more likely to

speak about life in the ghetto than a country song, a black metal song is more

likely to speak about an innocent bloodshed than a rap song, a country song is

more likely to speak about a love story in Alabama than a black metal song,

and so on.

Secondly, there is much space for ethnic, national and regional variations,

which not only appeal to the listener’s potential sense of patriotism, but also

uphold the song as a useful and efficient device for social and historical

analysis. For example, even today’s English and American mainstream songs

cannot disacknowledge their roots, deeply sunk in Afro-American jazz and

blues, which in turn derive from both spirituals/gospels of African and ballads of

European provenience.

Thirdly, the brevity and catchiness typical of the song make it an incredibly

exploitable means of expression. Songs can be used in a variety of different

ways in the context of movies or even theatre, thus contributing to the genre’s

appeal to the more educated spheres of society.

3. CONCISENESS

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This feature has already been mentioned, and it has already been disclosed

that such categorisation is potentially inconsistent and ambiguous: what does

“short” even mean, when referring to a lyric? Giving a definite, “scientific”

answer is impossible, but it is probably not hard for the readers to envision an

interpretation that satisfies them, for the sake of following the following line of

thought.

Starting from the blatant example of modern popular music, any observer

would surely notice that almost the entirety of mainstream repertoire consists of

relatively short songs. Most tracks are 3-5 minutes long, which translates into a

very limited number of lines and stanzas. Even though this statement holds true

today, once more it must be noticed how the feature, which is being

mentioned, is a heirloom of a long history of music-making all over the world. In

fact, there is a marked tendency throughout history of writing short musical

poems or songs. This applies not only to the metric structures which call for one

or several short repeated stanzas with a hook, such as many ballads, arias or

the German traditional Lied, but also to those which feature a non-strophic

structure or free verse, such as the madrigal or the secular canzonetta, typical

for the 17th century in Italy. Despite the differences in style or metric form, the

genre of the song in general has been of huge success throughout the

centuries, and the fact that the element of brevity is among the more common

ones which can be found in song lyrics of every age, may be even interpreted

as evidence of the fact that brevity is a natural prerogative of popularity. It is

indeed a hard-to-prove theory, but it may explain the success of other brevity-

based poetic structures in history, such as the sonnet, or even the extremely

concise haiku, characterized by both its sharpness and the uncommonly low

syllable count. Moreover, when evaluating the poems which were originally

28
 not intended to be sung and which have later been put to music, it appears

that both poems in strophic form, as well as to poems written in non-strophic

form alike have been chosen for this process by songwriters and composers,

indicating that an artist may be willing to put aside many of the above

described discriminants when composing a song or writing music for a poem,

but hardly the one of conciseness.

4. TRIVIAL THEME

If the previous feature was among the most undisputed, the following might be

the most controversial. It has been noted that the majority of music lyrics in

history have a substantially frivolous subject matter as foundation. Love stories,

erotic descriptions, narration of unimportant or uninspired events and situations,

with recurring situations and clichés have been at the bottom of the majority of

compositions, and the academics which endorse this theory are able to prove

their point with evidence which dates back even to the 12th century, with texts

in which the very authors of songs of the time admitted that the average target

of the composition, i.e. mainly the uneducated, would find a theme other than

the above mentioned, boring or unattractive. Moreover, it is believed that such

shallowness in inspiration and theme reflects itself even in the style of the

composition, giving way to large use of stereotypes and to an extreme poverty

in vocabulary. Sadly, if this feature was to be taken for granted when

comparing mainstream music over the ages, one would easily almost always

recognize this trait among the most popular genres. Even today’s dominant

pop music does not fall far from this description.

It cannot be stressed enough that the mentioning of this feature is remarked

only because it is a derivation of an observed tendency in history. As such, it

29
must not be taken for granted, on the contrary, it is the attribute of this

chapters’ list which is probably the weakest. There is an overlong record of

songwriters and artists who occupy a fundamental place in the history of music

and who have composed lyrics of incommensurable poetic value, social

criticism, political protest and deep personal introspection in all ages, even in

contemporaneity, such as Bob Dylan, Leonard Cohen or John Lennon, just to

name a few.

THE MERGING OF TWO LANGUAGES

As we approach the more practical part of the dissertation, one final aspect

must be discussed. Even though this work, due to its comparative nature,

focuses more on the words than on music, the songs cannot be expected to be

analysed without speaking of the music which goes with the words, or even the

music which is expected to be created with the rhythmic intonation going with

the words. This dissertation will refrain from going into excessive detail. It will,

however, put much attention on the examination of the musical aspect of the

songs. As already pointed out, instead of relying solely on the power of

language, as expected from a pure poet, the songwriter must speak two

“languages” and his skill stays in the ability to make them merge as effectively

as possible, making their interplay its strength of composition instead of its

weakness. Therefore, the tools for the analysis of pure poems will prove

immensely useful; yet, they will, however, not be sufficient.

In order to make the concept clear, let us compare two famous structures. One

of the best-known forms of pure poetry: the sonnet (in its Shakespearian variety)

and a very famous musical genre with an almost crystallized structure will be

analysed: Blues. There is very little the two forms have in common: their

structure, historical collocation and geographical origin differ immensely. The

30
following comparison simply aims to clarify the above-mentioned concept,

through the brief study of two genres, which have been chosen exclusively for

their immense celebrity, one of the few features they share.

The obvious starting point for understanding a sonnet would be recognizing its

metric and rhyme scheme. In our case, the basic Elizabethan sonnet features

four stanzas, three of which are quatrains and one is a couplet, usually written in

iambic pentameter (which means that all lines will be equally long: five feet)

with a ABAB, CDCD, EFEF, GG rhyme scheme. When given this information, the

identification of a sonnet becomes elementary and foolproof for anyone.

The identification of a Blues text, however, can be more challenging. First of all,

let us take a look at its most common structure, which is based on the lining of

an indefinite number of triplets with the following features: Each triplet sets off

with one line, the metre of which can be freely chosen, which, however, should

have a caesura halfway through. Let us take the first stanza of the blues

standard “Sweet Home Chicago” as example:

Come on, oh baby don't you want to go

Come on, oh baby don't you want to go
Back to the land of California, to my sweet home Chicago.

The caesura after “Come on” is evident even for all those who are not familiar

with the song. After the stating of the first line, there usually is a repetition of the

first line. Such repetition can be identical or present small variations, must

however bear strong resemblances with the first line. Some renditions of “Sweet

Home Chicago”, in fact, may replace “Come on” with “Hi-De-Hey” or other

motives made of words or onomatopoeias. Then there is the presentation of the

release in the third line. As a matter of fact, the first line usually conveys a strong

sense of incompletion, and its repetition only emphasizes such feeling. The third

31
line provides the listener with the missing elements of the discourse, and

resolves the narrative suspense of the stanza. This is called an AAB structure. In

this case, A and B do not refer to the rhyme of the lines, but to their entirety.

Line A is repeated (A) or slightly altered (A’), then comes line B.

Before turning to the analysis of music, it can be added that the blues usually

deals with situations of unrest and pain proper of the black population of the

US, hence the term “to feel blue” e.a. .

The ones which have just been mentioned are the features of blues which can

be inspected without speaking of music. There are already enough elements to

recognize a blues form when encountered, but only the surface of the topic

has been scratched. As a matter of fact, much more can be said about the

structure of blues, one must only use the right means.

Indeed, even though there is no prescription for the choice of the lines’ metric

form, there still are some musical rules to respect: in the majority of blues songs

we find a 12-bar structure. This means that the stanza must be contained in 12

bars (or measures) organized by the chosen tempo, which in turn means that

each line must be contained in 4 bars. In other words, there is a limited amount

of beats in which the text must be sung. Most times it is written so that it

perfectly fits, some other times it must be squeezed in, as in “Every Day I Have

the Blues”, another world-famous blues standard.

Oh I’m gonna pack my suitcase, move on down the line.

Moreover, there is a fixed harmonic progression to be followed, in other words

there is a chord progression which must be roughly the same in every blues

song. This does not mean that every blues song has the same chords. A

32
songwriter chooses the tonality which best suits his voice and the song in

general, then uses such scale as his starting point. In a C scale, for instance, the

notes are C D E F G A B. On each of these notes, called degrees, the songwriter

can build a chord, and, in blues, chords built on the first, fourth and fifth degree

are used. In a C scale, the chords for the blues progression will therefore be built

on the notes C, F and G. More specifically the chords will interact with each

other in a particular, fixed order; refer to the following diagrams:

Chords (in C) Degree

C – C – C – C7 I – I – I – I7
F–F–C–C IV – IV – I – I
G7 – F7 – C – G7 V7 – IV7 – I – V7

The small 7 over some of the degrees indicates the presence of a seventh

chord, which means that such chord contains one extra note, which forms an

interval of a seventh above the chord’s root note. A small detail, without which,

however, the “bluesy” sound of the harmonic progression would not be

achieved.

The bluesman must respect this structure when writing and performing the

songs. He has freedom in the writing of the lyrics, in the arrangement, in the

choice of tempo, intensity and tonality, in the order of the verses, in the

allowance of a bridge’s or an instrumental solo’s presence, but the chord

progression inside the verse is fixed. This is a huge help when improvising (which

is very common in blues), since the bluesman can improvise his words knowing

what to expect from the development of the song and from his band. Also the

structure of the verse hints to the fact that blues is improvisation friendly: the

repetition of the first line gives the bluesman more time to think of a poignant

release line.

33
Speaking of which, one cannot write about the musical characteristics of blues

without mentioning the so-called blue notes. The blues has humble origins, it is a

spawn of the negroes’ working songs, which in turn derive from African chants

and European ballads. Having a backbone constituted of uneducated

musicians, the main issue of blues was the risk of being played

unconventionally, more precisely, to include notes in the harmonic and

melodic structure which do not belong to the scale the song is played to. As a

consequence, bluesmen not only played those notes, but even enjoyed doing

so, since an ill-suited note only helped to convey the feeling of unrest bluesmen

strive to express.

The reader may have now recognized that it would have been impossible to

give a complete idea of the blues and its features without mentioning at least a

small part of the relevant musical theory facts. This obviously applies to every

art, but such introduction was necessary before venturing into the second part

of the dissertation, in which the comparison of poems and music will be dealt

with on several levels.

34
PART 2: PSYCHEDELIC ROCK

LSD: THE DRUG THAT STARTED IT ALL

The origins of psychedelic rock can be retraced to the mid-sixties, two decades

after the discovery of LSD, with the drug’s introduction to the public. As a

matter of fact, even though it would be wrong to mechanically associate this

genre to drug abuse, the influence of the new synthetic hallucinogen is

undeniable.

Its inventor, Albert Hofmann, was a Swiss researcher who was investigating the

properties of a fungus which grows on rye: ergot. Starting from medicinal

traditions in which ergot was used since the 1500s to slow down the blood flow,

Hofmann’s experiments were concentrated on the synthesizing of lysergic acid,

the active ingredient of ergot, in order to find a cure for migraine. After years of

experimenting, Hofmann’s 25th synthesis, lysergic acid diethylamide (LSD-25),

was produced and experimented in 1938, however, the experimentations

revealed nothing of interest and the tests turned their focus on other molecules.

Five years later, the scientist returned to LSD-25, feeling that he might have

ignored or omitted something in his studies, and in 1943 he created a new

synthesis. After a day of new studies and experiments, he started to feel dizzy,

restless and confused, closed his lab and went home, unaware of the fact that

he was about the experience the first documented acid trip in history. Once in

his house, he started to see a stream of fantastic images and shapes with a

fervent play of colours which interacted in kaleidoscopic manner with each

other, a condition which endured a couple of hours. Once the effects faded,

the scientist realized that they were probably induced by the substance which,

35
back in his lab, he had not handled with gloves. Some days later, Hofmann

decided to try again, and drank a solution of the new LSD-25 batch in water.

After some minutes, the scientist began to feel anxious and uneasy. Struck by a

fit of dread, he took his bike and drove home, and even though he was

pedalling furiously, he felt as if he was progressing at lethargic pace. The road

he was driving on felt like it was constantly swelling and dropping, all objects he

was passing by felt like obstacles thrown onto his course. Everything, from

inanimate objects to other people in his surroundings assumed scary and

surrealistic forms. This time, Hofmann was the protagonist of the first ever

recorded bad trip in history. The next morning, after waking up feeling

completely refreshed, he began the tests on his findings. His whole staff began

to use the substance and record the effects. Soon it was assumed that LSD

could be useful in psychotherapy and the tests on schizophrenics began: the

drug was started to be offered to psychiatrists around the globe. With this as

starting point, it was easy for the drug to become publicly available within the

next few decades. In the 50s a limited number of poets, artists and musicians

was no stranger to this substance anymore, and in the mid-60s the drug

became much more readily available to the masses. It is also in the mid-60s

that the first influences of psychedelic experience became apparent in the

musical production. As a matter of fact, the impact of the drug can be found

even in the creations of the three most influential bands of the time: The

Beatles, The Rolling Stones and The Beach Boys.

THE PSYCHEDELIC EXPERIENCE OF THE BEACH BOYS

In his autobiography, Brian Wilson, the Beach Boys’ lead singer, wrote that he

took acid for the first time in 1965, and even though he rarely repeated the

experience, he claimed that it completely changed the way he approached

36
music. The listening of songs became more palpable and complete. Sounds

triggered bursts of colour (a phenomenon called synaesthesia, where visual

reactions are triggered by a sound; a typical effect of the LDS drug) and he

reached a mental state beyond his own consciousness. Wilson was twenty-four

when the psychedelic experience and his own personal anxieties led him to

write Pet Sounds, pairing up with songwriter Tony Asher to write lyrics for the

tunes he had composed on the piano on his own, inspired by his feelings alone.

The experience had triggered in Wilson an urge to look inside him and create a

record about emotions, and not, as the Californian band was used to, about

cars, girls or days at the beach. The result is an LP with a profoundly

melancholic introspective attitude. Compare the following very frivolous text:

an extract from the song “Surfer Girl” in the homonymous album released in

1963

I have watched you on the shore

Standing by the ocean's roar
Do you love me do you surfer girl
Surfer girl surfer girl

We could ride the surf together

While our love would grow
In my Woody I would take you everywhere I go
So I say from me to you
I will make your dreams come true
Do you love me, do you surfer girl
Surfer girl my little surfer girl

with the following extract from That’s not Me, contained in the Pet Sounds

album.

I went through all kinds of changes

Took a look at myself and said that's not me
I miss my pad and the places I've known
And every night as I lay there alone I will dream

37
and those who know Wilson’s unfortunate story, exploited by his manager and

father, will effortlessly recognize the links and references to his personal life;

however it is easy for the listener to relate and identify with most of the lyrics on

the record, despite the very intimate character of the songs. There is a

newfound topic for the artist: feelings of melancholy and weariness of life.

Perone (2013) suggests that the lyrics define the character by what he is, and

not by who he is. In other words, it gives the impression ”that the character’s

sense of self-identity is weaker than he might admit”. Also the arrangements in

the songs revealed traces of a new approach. Wilson decided to expand the

borders of the band’s routine and introduce guest players and orchestral

musicians to the studio recording sessions, crafting complex arrangements

which included intricate melodic strings, organ, flute, piano, percussion and

even bicycle bells patterns, instrumental additions the band was not

accustomed to before, carefully mixed in order to create tangled, diversified

instrumental tracks, in which new unheard facets can be discovered even after

several listens. Today, Pet Sounds counts as one of the greatest records of the

time, but at first the album did not turn out to be the huge success everyone

expected, especially when compared to the Beach Boys’ previous records.

Wilson’s bandmates were not impressed with his new approach to songwriting,

but most of all, they were deluded by his lyrics, preferring the old, tested,

surfing-band style. The singer made up for it writing and recording the single

Good Vibrations, which despite maintaining the newly experimented

approach, featuring complex vocal harmonic arrangements and experimental

synthesizers labelled “too modern” by record company executives, revealed

itself to be immensely successful upon publishing, in 1966. However, after that,

Wilson’s life began its downfall: misfortunate collaborations and poor life

choices, in addition to the psychological disorders he had developed in the

38
previous years and the speed and marijuana addiction relegated the lead

singer to his house, where he often refused for days to leave his bed. The

imaginative songwriter stepped aside, and his band took over, returning to the

Californian beach-band sound they were so fond of. The Golden Age of the

Beach Boys was over: the band became a shadow of its former self, and Wilson

himself made only rare appearances with his bandmates, eventually

embarking on a mildly successful solo career.

THE PSYCHEDELIC EXPERIENCE OF THE ROLLING STONES

An even more marked psychedelic period can be found also in the Rolling

Stones’ discography. While Charlie Watts (drummer) and Bill Wyman (bassist),

being part of the English jazz scene, were accustomed to the use of marijuana,

the other band members were introduced to it only during their tours in

America, in 1965, and Rolling Stones founder Brian Jones started to make use of

LSD in the same year. It was the band’s belief, as stated in numerous interviews,

that the use of marijuana and acid revolutionized the perspectives, attitudes,

and possibilities of countless musicians in the world, and this obviously applied

also to their formation. Even though the main songwriters were Richards and

Jagger, it was mostly thanks to Jones’ new ideas, that the next record,

Aftermath, released in 1966, contained fresh instrumentations with bizarre and

exotic touches, such as sitar, marimba or dulcimer arrangements. The result is a

record with the usual clear electric blues base, but with the presence of

unusual, modern sounds, effect of Jones’ hunger for novelty and innovation.

The multi-instrumentalist constantly explored new sonorities, experimenting with

synthesizers and picking up new instruments just for the sake of arranging one

song in an unconventional way (It is said that Jones used to exercise for hours

on the sitar only to put it on Paint It, Black. After that, he never picked it up

39
again.). Being the bad boys of rock, there had never been any effort put into

the hiding of their drug habits. As a matter of fact, several song lyrics contain

allusions to drug use, and their 1966 compilation was named Big Hits (High Tide

and Green Grass, a clear innuendo to marijuana use. By 1967, even though it

was the Beatles who were more openly making use of LSD, the Rolling Stones

were labelled as drug addicts. Their eleventh album, Their Satanic Majesties

Request, released in 1967, was harshly criticized and tagged as a failed

attempt to copy The Beatles’ Sgt. Pepper’s Lonely Heart Club Band. In addition

to having the cover designed by the same artist, it contained strange imagery

and bizarre sounds, just like the Beatles’ record. The opening track, for instance,

Sing This All Together, features an arrangement with stingy synths and hazy string

arrangements written by John Paul Jones. Also the lyrics depict strange images,

which remind of the typical effects of LSD.

Pictures of us through the steamy haze

Picture of us painted in our place
Why don't we sing this song all together
Open our heads let the pictures come
And if we close all our eyes together
Then we will see where we all come from

Also She’s a Rainbow contains pictures of colour and dreamy situations. The

song describes a lady who enchants everyone she meets with her looks and

the colours she wears. Again, it is a quite uncharacteristic song. In some portions

the strings are out of tune and in some other portions the backup choir sings

childlike “la la la” .

Have you seen her dressed in blue

See the sky in front of you
And her face is like a sail
Speck of white so fair and pale
Have you seen a lady fairer?
[…]

40
 Have you seen her all in gold
Like a queen in days of old
She shoots colours all around
Like a sunset going down
Have you seen a lady fairer?

Even though there is an undeniable influence of the psychedelic experience,

the song could also be seen a manifesto of the Stones’ main obsession: sex, as

the lady protagonist of the song is said to “come in colours everywhere”.

When, in the following year, Beggars Banquet came out, very little of the

psychedelic influence had remained. The Rolling Stones too returned to their

roots after a LSD inspired excursus and only rarely employed psychedelic

sounds in their records again.

THE PSYCHEDELIC EXPERIENCE OF THE BEATLES

One of the most memorable shifts towards psychedelic music, made by a

mainstream band, however, is undoubtedly the deviation in style the Beatles

experienced in the mid-sixties. For some time, the fab-four had escaped the

stress of the incessant writing, recording and performing, imposed by their

record label EMI, by smoking marijuana. As a matter of fact, after the release of

Help! in august 1965, the English band was supposed to record a new album by

December of the same year. For the first time, their innocent and impeccable

image, meticulously shaped over the years, started to crumble relentlessly.

When Rubber Soul came out, it did not take long for fans all over the world to

realize that the Beatles were growing up, changing, and that the album was a

turning point in the Beatles’ career. Once again, the themes of the songs were

more mature, and the rhythms more moderate than their past records. The

simple drum patterns made way for more elaborate percussion tracks, with

finger cymbals, maracas and tambourines. The instrumental arrangements

41
became more complex and intricate, the lyrics described more mature

situations. Compare the lyrics written for the song Norwegian Wood (This Bird

Has Flown), with the best-selling Beatles single I Want to Hold Your Hand,

released only two years earlier. The latter, despite being one of the band’s

signature compositions, is a very simple tune provided with extremely basic

lyrics.

Oh yeah I'll tell you something

I think you'll understand
When I say that something
I wanna hold your hand

I wanna hold your hand

I wanna hold your hand

Oh please say to me
You'll let me be your man
And please say to me
You'll let me hold your hand
Now let me hold your hand
I wanna hold your hand

Norwegian Wood, in contrast, pictures a mature relationship, with all its issues

and controversies. It is said to be the first ever rock song to feature a sitar in the

arrangement, and Lennon is supposed to have written the song on an affair he

had been having in those years without his wife knowing.

I once had a girl, or should I say, she once had me...

She showed me her room, isn't it good, Norwegian wood?

She asked me to stay and she told me to sit anywhere,

So I looked around and I noticed there wasn't a chair.

I sat on a rug, biding my time, drinking her wine

We talked until two and then she said, "It's time for bed"

She told me she worked in the morning and started to laugh.

I told her I didn't and crawled off to sleep in the bath

And when I awoke, I was alone, this bird had flown

So I lit a fire, isn't it good, Norwegian wood.

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The text is filled with symbolic imagery, mixed with very down-to-earth and

realistic situations. It is not possible to tell to what extent the tale which is being

told is true or symbolic, but this, on the one hand is a powerful device to result

more cryptical in Lennon’s admitting of having an extramarital relationship, on

the other it can be viewed as a clear improvement in the usage of more

sophisticated poetic devices, such as enigmatic metaphors or similes, by the

songwriter, when compared to his past compositions. The lyric is composed by

five couplets, each adding an important piece to the narration. There is a

repetitive pattern in the structure of the lines, but no chorus in the song, only the

repetition of “Norwegian Wood” in the first and last stanza, as if the only

concern of the songwriter was to close the circle. As a matter of fact, the first

stanza reveals that the precious wood the house of the lady in the song is

made of is the characteristic which she cherishes most. The tongue-in-cheek

implied ending of the lyric, is one in which the character, alone, lights a fire to

keep himself warm using precious Norwegian wood from the furniture and the

décor of the house, thus getting revenge on how he had been treated. The

idea for the song came to Lennon in form of the first line “I once had a girl, or

should I say, she once had me”, powerful and unconventional words for a pop

song, and definitely a sharp line to begin a song with. Paul McCartney then

helped him develop the idea, but, as he stated, there was little effort in the

process: “It wrote itself. Once you've got the great idea, they do tend to write

themselves, providing you know how to write songs. So I picked it up at the

second verse, it's a story.”. (Miles, 1998)

According to DeRogatis (2003, 43) the first great psychedelic song written by

the Beatles comes in 1966, on the B side of the Paperback Writer single: Rain.

On an obvious level, it appears like a song about the classic complaints about

43
the weather. Closer analysis reveals that it is not so. The verse/chorus form in the

song is evident. There are four three-line-stanzas with the same structure: the first

two lines always rhyme either perfectly or imperfectly and the third is a

repetition of a four-syllable phrase. As the song progresses, the repeated

closing line gets more and more intimate with the listener, addressing him

personally and even calling for his attention, as if there was an important

message in the song to be conveyed.

If the rain comes they run and hide their heads

They might as well be dead
If the rain comes, if the rain comes

When the sun shines they slip into the shade

(When the sun shines down)
And sip their lemonade
(When the sun shines down)
When the sun shines, when the sun shines

Rain, I don't mind

Shine, the weather's fine

I can show you that when it starts to rain

(When the rain comes down)
Everything's the same
(When the rain comes down)
I can show you, I can show you

Rain, I don't mind

Shine, the weather's fine

Can you hear me that when it rains and shines

(When it rains and shines)
It's just a state of mind?
(When it rains and shines)
Can you hear me, can you hear me?

DeRogatis compares the stumbling rhythm of the song, as well as its melodic

line in constant expansion and contraction to the sense of timelessness the LSD

drug creates. Moreover, he argues that for the writing of the lyrics Lennon might

have been inspired by the reading of Alan Watts, his favourite philosopher. As a

matter of fact, quoting Riley (2002), “[Watts] writes that reality is a spectrum of

wavelengths, and our human senses limit us to receiving only five of them. […]

44
Everything beyond what we call “real” remains a vast illusion.”. Rain can be

considered a philosophical document, a paraphrase of Watt’s thoughts into

music. Rain or sunshine can be reduced to simply a state of mind. “Rain is as

much about attitudes as it is about how nature strikes our senses”. The whole

song is filled with sharp images, of people running and hiding their head, but

not merely from rain. Riley (2002) suggests that “they” in the Sixties implies also

an “us”, putting the focus on an establishment and its counterculture. “They”

are running from what can be framed as a perceptive experience, and only

the protagonists of the song, the enlightened counterculture, are able to see

past the appearance (“I don’t mind. The weather’s fine.”), and are willing to

show the community how to do it (“I can show you that when it starts to

rain/Everything's the same”). Some other critics, like DeRogatis (2006), state that

there is a close link between the song and the psychedelic experience, since,

when making use of LSD, it is hard to acknowledge even the most basic things,

as, for example, whether it is raining or not, but there is little evidence to this

assumption, since none of the band members went on a LSD trip before the

release of the album.

After few unsuccessful attempts, Lennon had his very first major encounter with

LSD a few months after the release of Rubber Soul. Influenced by this

experience, he started working on a song he called “The Void”, which would

however later be named Tomorrow Never Knows (published in 1966 in the

album Revolver), inspired by the most acclaimed “instruction manual” for the

use of acid, a handbook written by Timothy Leary for those who wished to

reach spiritual enlightenment through the use of psychedelics, which in turn

contained many references to The Tibetan Book of the Dead, an ancient text

with directions for a soul to reach heaven. Leary’s book praises the drug and its

45
mind-expanding effects. In the song, many sections of the book are quoted

identically. As a matter of fact, the words of the song are the words Leary

himself uses in the book to guide the reader away from a bad trip towards a

good trip. It appears as if the message of the song is the same message of the

book: to convey values of transcendence from the material world, to escape

from the mechanical, physical nature of time, to refuse and resist the western

values that cherish material goods, and to preach a union with the spiritual

realm. The song is composed by 7 four-line stanzas in which the latter two

always repeat each other:

Turn off your mind, relax

And float down stream
It is not dying
It is not dying

Lay down all thought

Surrender to the void
It is shining
It is shining

Lennon’s voice sounds both hypnotically close and remote over the hypnotic

drum beat which constantly loops, creating a mesmerizing atmosphere,

emphasized by backwards played guitar tracks and droning organs with

unusual effects. Tomorrow Never Knows was the first track to be recorded for

the Revolver album, and as such it is an evident display of the possibilities the

recording process had in store for the band. In fact, Revolver appears to be

spawn of a different approach to music: it was the Beatles’ first purely studio

creation, since recreating faithfully the psychedelic effects and the offbeat

song structures live would have been impossible. Riley (2002) writes that the

song “embraces an alternative eastern reality as though everything flowed

from it. The ecstasy it describes deliberately contrasts the disillusion it follows.”.

Indeed, the song is the last one on the record, and it appears to be a resigned

46
withdrawal to the spiritual world, consequence and only solution to the cynic

critique that appears before it on the record: the song Taxman. It is the first

political Beatles composition to question the government. Even though it may

appear as a simple rant, written by George Harrison to complain about the

good share of money the state takes from his paycheck, its connection with

Tomorrow Never Knows is almost undeniable, giving the text much more depth.

Let me tell you how it will be

There's one for you, nineteen for me
'Cause I'm the taxman
Yeah, I'm the taxman

Should five percent appear too small

Be thankful I don't take it all
'Cause I'm the taxman
Yeah, I'm the taxman

(If you drive a car, car)

I'll tax the street
(If you try to sit, sit)
I'll tax your seat
(If you get too cold, cold)
I'll tax the heat
(If you take a walk, walk)
I'll tax your feet
(Taxman)

In western culture, it is not hard to connect the idea of taxes with scam. Money

in general is the symbol of corruption, the biggest threat for romance and

meaningful connections “and the untapped galaxies of the mind are the only

hope of deliverance from worldly evils.” (Riley, 2002). It must also be noted that

the song was probably inspired foremost by the application of a new tax

applied to the higher income brackets imposed by Harold Wilson’s labour Party

government, which cashed in nineteen and a half shilling out of 20 for every

pound. Harrison wrote the song, but it was Lennon who contributed with the

sharpest lines of the lyric, such as:

47
 Now my advice for those who die
Declare the pennies on your eyes

The song is a stinging and bitter critique, and the band was not afraid to drop

names in the song, with shouts calling both “Ha Ha Mr. Wilson” and “Ha Ha Mr.

Heath” (who were respectively prime minister and leader of the opposition in

those years) in order not to appear biased (Ingham, 2005, 265).

Another noteworthy lyric from the same album is Eleanor Rigby, which contains

social criticism on the isolation of many individuals in communities in which they

are supposed to care for each other and hypocritically act as if they did so,

such as the religious community Eleanor Rigby or Father McKenzie are part of. It

is a story about loneliness with no happy ending, a lyric light years away from

most past Beatles songs like, for example, Love Me Do, as Ingham (2005, 265)

likes to point out. It is the darkest and most extraordinary of all Beatles

compositions. There are three stanzas in the song: the first two introduce the

characters describing their loneliness and isolation without the use of

adjectives, but only by their actions, portraying eloquent, sorrowful situations.

Eleanor Rigby, picks up the rice

In the church where a wedding has been
Lives in a dream
Waits at the window, wearing the face
That she keeps in a jar by the door
Who is it for?

All the lonely people

Where do they all come from?
All the lonely people
Where do they all belong?

Father McKenzie, writing the words

Of a sermon that no one will hear
No one comes near
Look at him working, darning his socks
In the night when there's nobody there
What does he care?

All the lonely people

Where do they all come from?

48
 All the lonely people
Where do they all belong?

The third verse makes the two characters meet in the worst possible way, in the

grim setting of a funeral, in which McKenzie services at Rigby’s funeral. Eleanor

Rigby and Father McKenzie are strangers who, isolated from the world by age

and neglect, are brought together only by the empty and impersonal ritual of

the funeral. The chorus takes a break from the incessant rhythm of the verses

and resembles an ode to all the lonely people, a tribute to all those who

empathize with the characters of the song.

From the instrumental point of view, apart from the already discussed closing

track of the album Tomorrow Never Knows, the most striking psychedelic

influence can be found in the gliding guitars of She Said, She Said, and the

extremely famous Yellow Submarine, which at times resembles a children’s

jingle. At this point, John Lennon had begun to make daily use of the LSD drug

and the band seemed to slowly break apart, but the Fab Four still seemed to

enjoy getting together in the recording studio to create new music. The

following album, one of the Beatles’ most famous and critically acclaimed

records, reflects their engagement and follows closely the imprinting of the

previous two LPs. In fact, even the fans who did not quite understand Rubber

Soul and Revolver, inevitably came to terms with the band’s 1967 eccentric

outing: Sgt. Pepper’s Lonely Heart Club Band.

Again according to DeRogatis (2006, 47), one of the main elements that made

Sgt. Pepper so successful was its timing. As a matter of fact, it was published

during the hippie protest of the “Summer of Love”, when psychedelic drugs

stopped being an element of a niche cultural movement and became a

49
serious concern for the media and society in general. The record was probably

not as ground-breaking as the previous two, and it can be argued that even

the poetic value of the lyrics were not quite at the same level, but it was

playing on every radio station at any time, and the success spoiled the album

by making it more widespread than it should have deserved.

The Beatles’ idea was to mimic an old-time Salvation Army-type band, in the

effort of detaching themselves once more from the classic Beatles image they

had constructed years before, but on more practical terms, very few songs on

the record matched the musical freedom the Beatles had reached in Revolver.

Moreover, the band opened up a Pandora’s Box of controversies with the song

Lucy in the Sky with Diamonds, in which the media did not take long to find the

acronym for LSD, and which depicts very strange, surrealistic images and

features abrupt changes in rhythm and pace.

Picture yourself in a boat on a river

With tangerine trees and marmalade skies
Somebody calls you, you answer quite slowly
A girl with kaleidoscope eyes

Cellophane flowers of yellow and green

Towering over your head
Look for the girl with the sun in her eyes
And she's gone

Lucy in the sky with diamonds

Lucy in the sky with diamonds
Lucy in the sky with diamonds, ah

Follow her down to a bridge by a fountain

Where rocking horse people eat marshmallow pies
Everyone smiles as you drift past the flowers
That grow so incredibly high

Newspaper taxies appear on the shore

Waiting to take you away
Climb in the back with your head in the clouds
And you're gone

Lucy in the sky with diamonds

Lucy in the sky with diamonds
Lucy in the sky with diamonds, ah

50
 Picture yourself in a train in a station
With plasticine porters with looking glass ties
Suddenly someone is there at the turnstile
The girl with kaleidoscope eyes

The refrain appears only twice in the whole song, with its lullaby-like repetition of

the line “Lucy in the sky with diamonds” which only adds to the unsettling tone

of the song. Even from only looking at the text it is clear that there is an abrupt

change in metric structure from the verse to the chorus, and the change is

indeed swift and drastic as even the beat switches from a 3/4 to a 4/4 time

signature. There are some rhymes here and there, but no pattern, as well as no

coherence in metric scheme, rendering the experience of the song only the

more confused and confusing. Lennon always denied the reference to drug

use in this song, but his efforts in keeping a somewhat neat image of the Beatles

were annihilated by his colleague Paul McCartney, who antagonized the press

saying that LSD had opened up his eyes and brought him closer to God.

Moreover, in 2004, McCartney confirmed in an interview that the song was

indeed about LSD, and not, as Lennon stated, inspired by a drawing his son

made.

The next album on the list, Magical Mystery Tour, was released in 1967, and

presented itself as a rollicking record with extreme psychedelic influences.

There is little space for denying the impact of LSD-induced sensations in the

writing and recording of the record, mixed with the urge for thrilling and

provoking the listener, ingredients which gave life to a series of inspired

compositions on the one hand, and also bizarre, often even unsettling and

absurd songs on the other. A good example for the former type of lyric might

be Strawberry Fields Forever, based on John Lennon’s memories of playing near

the Liverpool orphanage, which was close to his home as a child.

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 Living is easy with eyes closed
Misunderstanding all you see
It's getting hard to be someone
But it all works out
It doesn't matter much to me

Let me take you down

Cause I'm going to Strawberry Fields
Nothing is real
And nothing to get hung about
Strawberry Fields forever

In this critically acclaimed song, Lennon depicts a situation in which he finds

himself thinking with the carefreeness and tranquillity of a child, and at the

same time expresses his nostalgia for his childhood in Liverpool. All this wrapped

up with clear psychedelic instrumental influences, which emphasize the idea of

a hazy, distant memory, the blurred imagery typical of everyone’s

reminiscences of their childhood, presented in an almost impressionistic fashion.

It can be quite safe to assert that, superficially speaking, the song advocates a

desire to escape into childlike dreams: Ingham (2005, 267) defines it a touching

Lennonian mix of nostalgia, egocentricity and insecurity. The language is

indeed intentionally colloquial and insecure, the verses portray blurry images of

complex reminiscences, while the chorus evokes a protected, infantile

atmosphere. Other critics agree that, as a consequence of psychedelics, the

song is not so much simply about nostalgia, but on profound inward reflection.

The simple, almost stuttering language, is not merely an effort to appear

childlike but a consequence of self-doubt and hallucinogenic sensations. As

the song unfolds, the language seems to become more confused and

awkward. The text cannot show it, but there are pauses every few words and

they increase in density throughout the song. Surprisingly, the chorus never

stutters and invites the listener not to care about things, since nothing is real and

he is safe in the strawberry fields. However, whether the songwriter refers to

52
infantile memories, or “strawberry fields” is a code word for drugs, is still a

mystery.

A good example for the nonsensical kind of song is I Am the Walrus, a song in

which Lennon seems to come to terms with the madness which comes with the

abuse of psychedelic drugs, with a weird instrumental arrangement and absurd

lyrics which even border the grotesque. In a late interview (Sheff, 2010), Lennon

even admitted of having written the greater part of the song lyrics while

tripping on acid. When looking at the text, this is easy to believe.

Sitting on a cornflake
Waiting for the van to come
Corporation T-shirt, stupid bloody Tuesday
Man you've been a naughty boy
You let your face grow long
I am the eggman
They are the eggmen
I am the walrus
Goo Goo G'joob

Mr. City policeman sitting

Pretty little policemen in a row
See how they fly like Lucy in the sky
See how they run

I'm crying
I'm crying, I'm crying, I'm crying
Yellow matter custard
Dripping from a dead dog's eye
Crabalocker fishwife
Pornographic priestess
Boy, you've been a naughty girl
You let your knickers down

The song is a clear example of Lennon’s surrealistic genius. Despite the random

lyrics, the song features great metric rigidity and precision. The main inspirations

of the song were two, according to Ingham’s reading of interviews (2005, 276).

From the musical point of view, it was the hearing of a siren while tripping on

acid, which sparked the idea of a fluctuating, waving rhythm and sound. From

the lyrical point of view, it was the receiving of a letter in which a young

53
elementary student wrote that his teacher lectured Beatles lyrics in English class.

This fact induced Lennon to write a provocation to all those who analysed his

song in academic fashion. It can be said that he perfectly hit the nail, as

countless different interpretations for each of the song’s lines can be found on

books and on the internet, ranging from the quoting of Lewis Carroll (The Walrus

and the Carpenter are two characters from a nonsensical poem by Carroll)

through political and religious statements (“Elementary penguin singing Hare

Krishna”) to hints to Indian philosophy (“I am he/as you are he/as you are

me/and we are all together”). Suppositions which can be true, but which can

also be the perfect outcome of an ingeniously designed prank.

After that, as if there was a pattern to be followed, also the Beatles returned to

their roots for the rest of their time together as a band. The Beatles, also known

as “The White Album” came out in November 1968, and boasted 30 songs, the

majority of which had been written in India, far from the pressures of western

culture and from psychedelic drugs. As a result, the album (and also its

successors) has only few songs which bear the psychedelic sparkle of the

previous three, and the majority of the tracks are more similar to the first Beatles

records than to the latter ones: after some years of experimenting, The Beatles

just like the other two mainstream bands, pushed mostly by their record labels,

carried out a drastic U-turn and returned to their roots -a choice much

welcomed by most of their die-hard fans- but some reminiscences of their

psychedelic past occasionally appear here and there.

In the history of all three of the above-mentioned bands, a recurrent pattern

can be found. At first, after becoming famous, the recipe for their international

success is followed to the letter for several years and album releases. After that,

the urge for growing up, for developing into something more mature kicks in,

54
and all three bands experiment with new sounds, contents and styles. Even

when ignoring what has been stated by band members in various interviews

when asked about their relationship with the drug, it is impossible to state to

what extent the LSD drug influenced this kind of development. However, it is

quite safe to say that it played a fairly significant role for all three of the above-

mentioned bands. As a matter of fact, even though the strive for a more

sophisticated style or for the confronting of more complex themes can be

attributed to a potential attempt of maturation, it has happened exactly when

the bands were exposed to the drug for the first time. Moreover, the sound the

bands found in the years after the discovery of the drug bears strong evidences

of being influenced by the effects of the drug, such as long droning sounds or

complex tapestries of intertwined instrumental arrangements. Today, the

albums recorded and published in this phase count among the most important

and influential records of all time. And even though the more tangible,

pragmatic musical influences of the drug subside, the quest for the expression

of less trivial and immature themes appears to remain.

BIRTH OF A GENRE

It has been shown how the three most influential bands of the time have been

influenced by the psychedelic wave, have then however returned to their

genre. Nonetheless, there are countless other artists and formations which were

on the verge of international fame in the same years, and have built their

career and fortune on this genre alone, reaching peaks of experimentation

never attained before. One of the most outstanding examples is the rise to

fame of a very special artist from Seattle, who pioneered the possibilities of

sound-making on the electric guitar and came to global fame in a very short

time, before prematurely passing away.

55
Jimi Hendrix picked up the guitar for the first time when he was thirteen years

old. When he was playing, he could find comfort and solace from his very

troubled home life. After dropping out of school and being discharged from the

military for an injury he started playing as freelance side guitarist in the Chitlin’

Circuit of the southern U.S., one of the few venues where African American

artists were free to perform, and his first experience as a frontman came in 1966.

It is not clear when and how Hendrix was exposed to the LSD drug for the first

time, but it is quite safe to say that at this stage he most probably already had.

Chas Chandler, bassist for the Animals, took Hendrix to London in September of

the same year, introducing the American guitarist to the vibrant psychedelic

rock scene. Soon after, he was joined by guitarist Noel Redding, who picked up

the bass guitar, and jazz drummer Mitch Mitchell, to form the Jimi Hendrix

Experience. Even though music stores all over the world are filled with countless

different records bearing Jimi’s name on the cover, only four albums were

released during his lifetime. As a matter of fact, before choking to death in

1970, aged 27, Hendrix released only three studio albums and a live record.

After his death, his record labels scraped together all the jams, studio

experiments and demos they could get their hands on and published them,

partly to ride the commercial tide followed by the artist’s death, partly because

leaving the multitude of the greatest-guitarist-of-all-time’s left-behind material

unpublished was perceived as a waste and a shame. This explains the

multitude of posthumous records released in the following years, which

somehow convey a sense of unfinished, unfamiliar and unpolished aftertaste. In

fact, many of these arrangements treated Hendrix more like a solo guitarist

than a songwriter, and every recorded left-behind note found place on the

posthumous albums somehow, in the effort of minimizing the loss. But the critics

know better. The albums that Hendrix had the possibility to look after and edit
56
show a very different approach to songwriting. The main target of his craft was

mostly the creation of songs, atmospheres, stylistic syntheses, and not merely

guitar solos. Even though Hendrix showed great talent as a songwriter,

composer and even lyricist, his skills were still overshadowed by his incredible

dexterity and pioneeristic techniques on the electric guitar and his charisma as

a frontman. His songs existed to convey emotions and feelings through

melodies, arrangements and lyrics, and not just as a musical carpet on which to

solo. In his compositions, Hendrix was more keen on creating moods with his

words and sounds than on impressing his listeners with his technical

competence. In fact, it appears that his style is deeply influenced by the years

he spent in America as a R&B sideman, which taught him that rhythm guitar is

as important as the lead guitar, notion which compelled him to do both at

once, another signature feature of his style. Moreover, he took advantage of a

stockpile of effects and experimented with everything his time had to offer:

distortion, fuzz, wah-wah, feedback controls, tape speed etc.

The result is a psychedelic sound in the truest sense of the word, with complex

arrangements, unusual sonorities and visionary lyrics. However, albeit largely

used by everyone, Hendrix himself always rejected the classification

“psychedelic” for his creations. He saw it more as a mixture of Jazz, Blues and

Rock which was constantly evolving.

His first record Are You Experienced? was released in 1967 immediately enjoying

great critical and commercial success, and many consider it Hendrix’s best

recording ever. Apart from becoming a landmark in the history of music for its

experimentations in sound, even the lyrics contain many of the influences which

have been disclosed in the previous chapters. It needs to be said that the

album, being Hendrix’s first record, contains the first lyrics of a relatively

57
unexperienced songwriter, but many of the compositions contain a song text

which can be regarded as a considerably more mature effort than, for

example, the first Beatles or Beach Boys lyrics.

A good example for this might be the song Manic Depression, a song about a

state of mind which could apply to a psychological disorder, but also to a more

generic frustration or heartbreak, making the song more appealing to a large

number of listeners. Written in triple metre, an uncommon time signature for any

mainstream song, it presents a relentlessly unyielding rhythm, which only

emphasizes the sense of helplessness Hendrix wants to convey through the

words.

Manic depression is searching my soul

I know what I want
But I just don't know, honey
How to go about getting it
[…]
Music sweet music
I wish I could caress caress caress
Manic depression is a frustrating mess

Well I think I'll go turn myself off and a go on down

All the way down
Really ain't no use in me hanging around
Oh, I gotta see you,

Music sweet music

I wish I could caress and a kiss kiss
Manic depression is a frustrating mess

The first line of every verse has almost all syllables synchronized with the beat,

underlined by a parallel progression of the guitar and bass tracks which closely

follow the vocal melody, making the parts in which Hendrix stops singing and

starts talking out of rhythm (another signature habit of his) all the more striking,

rendering the general mood of the song on the one hand mechanical, on the

other surprisingly more intimate and confession-like. The guitar solo starts off very

58
simple with few distorted bends, then evolves in a fuzzy multitude of barely

distinguishable notes.

Then again, there are also examples of very controversial lyrics which are

believed to contain references to the use of LSD. Purple Haze, for instance, is

the opening track for the U.S. release for the album, as well as one of Hendrix’s

greatest hits. Just from the musical point of view, the song boasts very

psychedelic overtones: the opening riff features a repeated guitar/bass unison

interval of a flattened fifth, which can (Shapiro & Glebbeek, 199)potentially

sound very odd to the majority of listeners, and the guitar solos throughout the

song, occasionally backed up by Hendrix’s moans, take on dissonant and

strange-sounding paths. Even though the lyrics may seem the description of an

acid trip, Hendrix always denied the connection and stated that the words

were inspired by a dream.

Purple haze, all in my brain

Lately things they don't seem the same
Actin' funny, but I don't know why
Excuse me while I kiss the sky

Purple haze, all around

Don't know if I'm comin' up or down
Am I happy or in misery?
Whatever it is, that girl put a spell on me

Purple haze all in my eyes

Don't know if it's day or night
You got me blowin', blowin' my mind
Is it tomorrow, or just the end of time?

There are three stanzas in the song, and no chorus. The structure is very clear

and always respected, as the three stanzas are identical in structure and metric

pattern, as well as in their basic rhyme scheme, which makes use of both

perfect and imperfect rhymes, but never misses any instances. The verses are

separated by guitar solos and all three begin with the hook of the song “Purple

59
Haze” which sets the tone for the passage about to come. The fondness for

such simple structures, as well as the faithful respect for them is probably

heirloom of Hendrix’ years as R‘n’B guitarist. From the lyrical point of view,

however, the song is inspired and driving. Just like the majority of poetic texts,

also this one is very open to interpretations, and the ultimate truth does not

exist: as enthusiasts over the world got their hands on notes and drafts for the

song lyrics, many of those bear little to no resemblance to the final version of

the song. Hendrix himself gave many different answers in several interviews,

stating, for example, that the purple haze of the song can also be viewed as

the effects of falling in love (a thesis backed up by the line “Whatever it is, that

girl put a spell on me”), or as the effects of a voodoo trap spell laid on him by a

witch. In any case, even if the text really was drug-induced, admitting it would

have meant a substantial fall from grace, therefore it never happened, and no-

one will ever really know the truth behind the lyrics.

The same can be said about the strongly suggestive lyrics of Are You

Experienced?, in which the American guitarist pioneers the use of backward

played drum and guitar tracks, attaining an incredibly unusual effect, which

makes the apparent drug-encouraging message only the more disturbing.

If you can just get your mind together

Then come on across to me
We'll hold hands and then we'll watch the sun rise from the bottom of the
sea
But first

Are you experienced?

Have you ever been experienced?
Well, I have

I know, I know
You'll probably scream and cry
That your little world won't let you go
But who in your measly little world are trying to prove that
You're made out of gold and can't be sold?

So, are you experienced?

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 Have you ever been experienced?
Well, I have

Ah, let me prove it to you

The song is written in basic verse/chorus structure, with two verses and two

refrains, and the two verses differ considerably in structure, as they are mainly

spoken. Many conjectures have been made about what Hendrix is proposing

to be a guide for. Shapiro and Glebbeek (1990, 180), among others, suggest

sexual ecstasy, altered states of consciousness, or simply the letting go of the

daily grind of the measly world. However the connection to drug use is still one

of the most preponderant ones. The moment in which Hendrix proposes to

prove that he is experienced gives way to one of the most odd-sounding and

psychedelic guitar solos of all-time, with several track portions played

backward and grave melodic dissonances and arhythmiae, which might be a

way of suggesting that he is proving his experience with psychedelics and its

effects.

Axis: Bold as Love is Hendrix’s second outing, published in December 1967 and

featuring 13 new songs. It appears as though, even if the sound and the

instrumental experimentations are of the same magnitude of the first album,

there is a greater effort in much of the lyric-writing. The most famous song on

the album, Little Wing, is a more easy-minded lyric about a girl, or better, an

idealized life companion, a recurrent theme in Hendrix’s work. Even though,

apparently, it could be a trivial theme to write a song about, the imagery

contained in the verses is imaginative and original; way beyond the usual

efforts of a generic mainstream love song of the same decade.

Well she's walking through the clouds

With a circus mind that's running round
Butterflies and zebras
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 And moonbeams and fairy tales
That's all she ever thinks about
Riding with the wind.

When I'm sad, she comes to me

With a thousand smiles, she gives to me free
It's alright she says it's alright
Take anything you want from me,
Anything.

The author’s affection to simple structures with no chorus re-emerges in this

song. The two verses are written in identical structure and the metric respect is

meticulous. The hook appears only in the final section of the song as it is almost

hummed over the guitar solo. It is difficult to say whether the songwriter is

referring to a guardian angel, or a girlfriend of his, or one of his relatives or

carers. It could be all, and it could be none, this exactly made the lyrics so

appealing to everyone upon release and signed its success. Hendrix liked to

write lyrics which were very open to interpretation, he even used to say that he

sees things in different ways than others, and when he writes them in a song,

they obviously come across differently and could represent anything.

(McDermott; Kramer; Cox, 1995, p142) Therefore, in Hendrix’s vision, a well-

written ballad does not necessarily coincide with a ballad which successfully

conveyed the message it was written for, and leaving a lyric open for many

different interpretations does by any means not make it a less valuable work of

art. This might as well be quite true, since the song, with its signature riff and

imaginative lyrics is among the most well-known and covered songs in the

history of music.

The third album Hendrix wrote and released with his loyal companions was

published in 1968. Electric Ladyland was Hendrix’s longest record, featuring a

total of 16 tracks, and was immensely successful upon publishing. It is also the

62
album in which the American guitarist displayed the incredible flexibility and

wide variety of style at its best.

The album contains several covers, such as Bob Dylan’s All Along the

Watchtower or Earl King’s Let the Good Times Roll, as well as hard-rock hit

Crosstown Traffic and 15-minute-long electric blues piece Voodoo Chile.

An example for a precious lyric of rare introspection which confirms Hendrix as

a versatile and valuable songwriter is the song The Burning of the Midnight

Lamp:

So here I sit to face

That same old fire place
Getting ready for the same old explosion
Going through my mind
And soon enough time will tell,
About the circus in the wishing well
And someone who will buy and sell for me
Someone to toll my bell

And I continue
To burn this old lamp

The words appear to be carefully chosen for how they flow into each other. The

verses of the song are presented like a stream of sounds which underline the

resignation of the song while appearing to be uttered almost effortlessly.

Hendrix admitted that he wrote the song driven by very personal and intimate

emotions, starting from the feeling of isolation which assailed him while

travelling and realizing that there was no place he could call home, the same

feeling he described with the image of a man in a secluded house who burns

the midnight lamp, a metaphor for a call to anyone who is willing to listen. Just

like the songwriter, the image is one of a secluded man who works hard all day

and into the night, hopelessly trapped in an overwhelming situation. Even the

character’s wishes are portrayed as being surrounded by serpents.

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 Soon enough, time will tell
About the serpents in the wishing well

As already said, Jimi Hendrix died in 1970 aged 27, choking on his own vomit. At

the time he was working on his fourth album, which was published despite the

artist’s death: The Cry of Love. Despite containing much evidence of Hendrix’s

work and style, critics find evident traces of his absence in the mixing stage of

the album. The premature death of the artist could not stop the record labels

from taking advantage of everything the young talent had left behind.

THE MADCAP – PINK FLOYD’S RISE AND SYD BARRETT’S DOWNFALL

Pink Floyd, the legends of psychedelic rock, got together for their first concert in

1965. Architecture students Roger Waters, Nick Mason and Rick Wright, after

having played in various unsuccessful R&B bands during their student years,

finally teamed up with Syd Barrett, a 19-year-old painter, who named the newly

formed band after his two idols: bluesmen Pink Anderson and Floyd Council.

Just like all other artistic attempts of young bands in London, Pink Floyd also

played R&B in small venues for audiences of partying students. It was the time in

which the Beatles were recording Rubber Soul, and, as already disclosed,

popular music was undergoing a new kind of evolution towards an innovative

sort of sophistication, and the influence can be traced even in the band’s first

artistic efforts. As a matter of fact, Pink Floyd can be regarded as being part of

the third generation of rockers – the first being the Elvis and Buddy Holly

generation and the second comprising, for example, The Beatles or The Rolling

Stones. By the time this kind of small student bands in the mid-sixties started

playing together, many artistic choices of other successful rockers in the world

were readily available in the record stores, undeniably influencing the tastes of

64
musicians in England and in the world. As psychedelic rock blossomed in

mainstream music, and LSD became more easily available, there were some

bands ready to take the experimentation to the next level, and Pink Floyd was

among the most relevant ones in this avant-garde movement. In 1966 the band

started its first psychedelic experiments: songs became much longer than

anything pop music had ever experienced before to make more space for

droning atmospheres and experimentations with echoes and feedback effects.

Critics like to state that Barrett’s band was characterized by an approach to

music which made them stand out from other similar student bands of the same

period: they considered their music art, and did so from their earliest days. As

the British psychedelic rock scene grew, the spotlight fell onto regular

performances of Tomorrow, Soft Machine or Crazy World Of Arthur Brown, but

the audience’s all-time favourites appeared to be Pink Floyd. They soon signed

a contract with EMI and produced their first single: Arnold Layne, which, though

providing the audience with a peek onto the sounds Syd and his friends would

have been exploring in the years to come, confined itself to the single format,

being only barely 3 minutes long.

Arnold Layne had a strange hobby

Collecting clothes, moonshine washing lines
They suit him fine

On the wall hung a tall mirror

Distorted view, see through, baby blue
He got it.

Oh Arnold Layne, it's not the same

It takes two to know, two to know, two to know, two to know
Why can't you see

Arnold Layne, Arnold Layne,

Arnold Layne

Now he's caught a nasty sort of person

They gave him time, doors bang, chain-gang
He hates it

Arnold Layne, Arnold Layne

65
 Arnold Layne
Arnold Layne
Don’t do it again!

Since the first single, Barrett reveals himself immediately as a skilful storyteller.

Starting from a trivial gossip learned from his own and Roger Waters’ mothers,

who told them that some clothes of girl students in their boarding house in

Cambridge went missing from the clotheshorse, Barrett was able to create an

eccentric character and a bizarre story. As Averame (2008) points out, even

though it appears that the narrative models Barrett was mostly inspired by in

terms of story were ones of linearity, typical of the early twentieth century, the

narration is fragmentary and modern featuring a series of brief flashes. This

irregularity might be heirloom of Barrett’s passion for translated poems of French

symbolists, who are famous for chaotic metrics. As the song unfolds, the

atmospheres become more sinister and the story more disturbing, until its logical

ending, in which Arnold is given time to think about his mistakes, mistakes which

translate simply into an unconventional lifestyle. Touching upon the themes of

identity and transvestitism, the song tells the story of a young man with the habit

of stealing women’s underwear from clotheslines. Some critics find the song

judgmental, since it ends with Arnold being locked up in prison for his actions,

scolded and told not to do it again. As a matter of fact, the chorus is cryptic

and allusive: it is never clear on which side the songwriter stays, but the fact

that Pink Floyd’s band members with their clothing choices often looked just like

Arnold, and the fact that Barrett sings the song’s hook “It takes two to know”

with much empathy, suggest that in reality the band sympathized with the

protagonist of their composition.

66
In any case, the single was ultimately banned by the BBC, along with its B-side

with the original title Let’s Roll Another One, which many found to be a clear

marijuana innuendo. The second, less provocative single, See Emily Play

released in June 1967, was, musically speaking, just as effective as the previous,

but the band admitted to feeling that they were not satisfied with the end

product, and that they were bound to create music beyond the 3-minute pop-

format. It was in this state of mind that the band went to Abbey Road studios to

record the album The Piper at the Gates of Dawn, Pink Floyd’s acclaimed

debut album.

Rich with suggestive instrumentals and experimental sounds, the album consists

in a variety of hallucinatory atmospheres provided by sounds which not only

the band, but also various professional engineers helped to craft. The opening

track, for example, Astronomy Domine, opens up with radio static noise and a

distorted voice reading out names of various planets, then fades into an

evocative climate in which Barrett’s voice describes an imaginative tour of the

universe.

Lime and limpid green, a second scene

A fight between the blue you once knew.
Floating down, the sound resounds
Around the icy waters underground.
Jupiter and Saturn, Oberon, Miranda
And Titania, Neptune, Titan.
Stars can frighten.

Blinding signs flap,

Flicker, flicker, flicker blam. Pow, pow.
Stairway scare Dan Dare who's there?
Lime and limpid green
The sounds surrounds the icy waters underground
Lime and limpid green
The sounds surrounds the icy waters underground.

67
The musical progression is unusual and ever sound, including vocals, was

processed with effects such as echo machines and distortions, elements which

only underline the expressive, colourful imagery of the vocals. The enigmatic

astronomic suggestion is underlined by manager Peter Jenner’s heavily filtered

vocal track, who reads excerpts from an astronomy handbook, resembling a

radio transmission to or from the moon. Averame (2008) underlines how the

language of the song, with its flow of images and onomatopoeias closely

reminds of US pop art painters in the fifties or of comic books, pointing out how

even Nick Mason once stated that Astronomy Domine is, in musical terms, very

similar to what Roy Liechtenstein did with his canvases. The style is dry and acts

merely through the juxtaposition of images. The images follow one another in a

vertiginous sequence which unfolds like an actual space trip, in which the

listener is hypnotized by the marvels that appear outside the windows as the

lightning-fast spacecraft travels through them.

One of the album’s most famous tracks is undoubtedly the closing track: Bike. In

this song, an intense crescendo in which the lyric I entrusts his sweetheart with a

variety of strange gifts:

I've got a bike, you can ride it if you like.

It's got a basket, a bell that rings
And things to make it look good.
I'd give it to you if I could, but I borrowed it.

You're the kind of girl that fits in with my world.

I'll give you anything, everything if you want things.

I've got a cloak it's a bit of a joke.

There's a tear up the front. It's red and black.
I've had it for months.
If you think it could look good, then I guess it should.

You're the kind of girl that fits in with my world.

I'll give you anything, everything if you want things.

I know a mouse, and he hasn't got a house.

I don't know why I call him Gerald.
He's getting rather old, but he's a good mouse.

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 You're the kind of girl that fits in with my world.
I'll give you anything, everything if you want things.

I've got a clan of gingerbread men.

Here a man, there a man, lots of gingerbread men.
Take a couple if you wish. They're on the dish.

You're the kind of girl that fits in with my world.

I'll give you anything, everything if you want things.

I know a room full of musical tunes.

Some rhyme, some ching, most of them are clockwork.
Let's go into the other room and make them work.

The song has a clear, linear verse/chorus structure, in which the five stanzas are

all separated by the same chorus, but there is an open ending to it, since it is

never disclosed whether the protagonist gets the girl or not. When directed to

the mysterious room full of musical tunes the vocals are quickly engulfed by a

profusion of sounds and effects which interrupt the conversation and leave the

story hanging. The track is permeated with infantile amazement, with

desperate, adult efforts to convince the outer world to merge with the inner

and to construct an empathic relationship with the other. The bizarre, maniacal

showing of toys and objects seems to be the lyric I’s business card, the most

accurate description of his own inner universe. The character shows and shows,

and in his showing he is more and more defenseless, naked and candid, but at

the same time this fact puts into evidence a clear detachment from reality. The

words in this song are clues that appear like a premonition of the mental

instability which is about to emerge, and still this can be regarded as a love

song: the character is ready to share anything with the loved one, who seems

to be his perfect fit, as he states in the chorus, and the fact that the whole song

appears to be sung by a child, and children are usually very jealous of their

toys, this is probably one of the most genuine and innocent love songs ever

written.
69
In hindsight, it is clear that The Piper was Barrett’s album. At the time, he was the

band’s driving force: eight songs out of eleven on the album were written by

him, and he even chose the title of the record with a reference to a chapter in

his favourite book: The Wind in the Willows. Even in their live performances

Barrett liked to constantly focus the attention onto himself, with his exaggerated

gestures and mirror-coated guitar. Pink Floyd was Barrett’s band, and his mates

knew it well. This explains their worry when the realized that their frontman was

increasingly losing control over his life. As a matter of fact, a frail, undisciplined

and naive young man, heaved into a world of effortlessly available sex and

drugs makes a good candidate for a excess-induced downfall. Barrett had

been no stranger to marijuana abuse since he was seventeen, and by the age

of nineteen he was dropping acid on a daily basis. His bandmates witnessed as

he showed increasingly concerning manic-depression symptoms and disturbing

attitudes such as random laughs or sporadic blackouts in which he lost himself

in a blank stare, along with various grave episodes which made those

surrounding him seriously question his mental health. As Syd grew more and

more unreliable and irresponsible, it became necessary for the band to have a

ready replacement for lead guitar and vocals, so it was decided to make

place in the band for David Gilmour, a good old friend of Barrett’s, who soon

took his place in live performances, while Barrett was told he could continue to

contribute to the band’s development in the writing process and the recording

studio. Soon after, however, the band realized that keeping Barrett in the

formation was not worth the effort, and decided to gradually estrange him

from the project, in the effort of proving those wrong who assumed that Pink

Floyd was strictly a Syd Barrett artistic project.

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A Saucerful of Secrets (1968), Pink Floyd’s second album, has still much of the

ex-frontman’s influence, and the repercussions are evident. Even though only

one song on the record is a Barrett original, (and the guitar tracks have been

recorded by both him and Gilmour) the whole album is permeated with his

touch. Some songs, like See Saw and Corporal Clegg, written respectively by

Wright and Waters, bear in structure and in length close resemblances with the

typical pop song, but many factors closely remind the listener of Barrett’s style,

such as the dark and disturbing imagery (a feature that would accompany

most Pink Floyd hits in time) or the quest for strange sounds and effects.

According to Barrett’s soon-to-be ex-bandmates the formation’s most notable

achievement in this record was the title track A Saucerful of Secrets, which

opens up side two of the disc and is a twelve minute long instrumental

characterized by plenty of experimentation, and which every bandmate

helped to write, with the exception of Syd Barrett. As a matter of fact, his only

contribution to the album, in terms of written songs, is Jugband Blues:

It's awfully considerate of you to think of me here

And I'm much obliged to you for making it clear
That I'm not here.
And I never knew we could be so thick
And I never knew the moon could be so blue
And I'm grateful that you threw away my old shoes
And brought me here instead dressed in red
And I'm wondering who could be writing this song.

I don't care if the sun don't shine

And I don't care if nothing is mine
And I don't care if I'm nervous with you
I'll do my loving in the winter.

And the sea isn't green

And I love the queen
And what exactly is a dream
And what exactly is a joke.

71
There is little space for denying the bitter nature of the lyrics, underlined by the

apparent absence of a metric and rhythmic structure. Many consider this work

Barrett’s farewell to the rest of the band, having realized that his time among

them is about to come to an end (a theory supported by the line “And I'm

much obliged to you for making it clear that I'm not here.”). Others argue that

the lyrics are an expression of the social estrangement Barrett was going

through at the time. Averame (2008) points out that in those years Barrett was

obsessed with his state of mental uneasiness, therefore the self-portrait he

creates with this song is both a way of unburden himself and to exorcize what

was happening to him. The track opens up with a pompous formal phrase,

which is an effort to remark the solemnity of the line, and also its paradoxical

contradiction: Barrett remarks his absence with his presence, and the sense of

impossibility of the line is balanced by the lucid, sophisticated sentence itself.

Rationality comes and goes throughout the song, but Barrett is coherent and

awfully true to himself: the portrait is one of a man who is conscious of his illness

and cannot do anything about it if not talk about it. A surreal paradox is present

also in the second verse, in which the songwriter himself wonders who could be

writing the song. The second stanza is a resigned surrender. Barrett does not

care about anything anymore, an ill man who has no concern with what is

happening outside of him or how he behaves towards his loved ones. Then

there is the passing of the marching band, followed by the last stanza, the last

display of madness of the song, in turn followed by a fade to silence, which

marks the end of this confused, painful story. Either way, the musical

progression of the song takes on disturbing paths, underlining the undeniably

dark, sad message of the words, which appear to be uttered by a madman

powerlessly spectating the relentless performance of a sinister and disquieting

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marching band which fades away and reappears in a fashion which could be

referred to as almost schizophrenic.

That was the moment when Syd Barrett parted from the rest of the band. Pink

Floyd subsequently released a series of albums which were far from uninspired,

but abused the same formula over and over. The approach the band found

and applied to A Saucerful of Secrets was indiscriminately practiced on entire

albums, resulting in abnormally long suites characterized by bizarre sounds and

atmospheres, which, besides, were perfect candidates for becoming

soundtracks, and the band composed several works for this purpose in the

following years. Speaking of studio albums, however, the band took on a

relatively monotonous path in its mid-years. Ummagumma (1969) is still one of

the band’s most anonymous albums, the first part of the album is a live record

of one of the band’s typical sets in those years, and the second a series of solo

compositions of each bandmate. Even though the product was received

relatively well by the public, the band itself never seemed to be fond of their

creation. Atom Heart Mother (1970), best remembered for its very simple cover,

featuring a shot of a cow standing on a field, contains Pink Floyd first orchestral

experimentations and choral arrangements cured with help of composer Ron

Geesin, who swiftly embraced the Band’s overtly extreme approach to music.

Meddle (1971), counts as a great group effort of the band, in which each

member produced a great amount of lyrics. The result is a more close-knit

record with a more linear approach to music in the songs as well as in the

entirety of the album. In 1972 a concert film is released, featuring Pink Floyd

playing a typical live set of theirs in a Roman amphitheatre in Pompeii for no

audience. The performance is extraordinary, since the few members of the

band manage to produce an incredible array of sounds and noises with

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relatively antiquate instrumentation. Moreover, it appears an even more

amazing deed when thinking that, starting from the early 80s the same

formation would have needed the help of a huge team of technicians and

sound engineers to achieve the same result. In the same year Obscured by

Clouds is released: the last album before the greatest breakthrough in the

band’s history, the release which many consider the Floyd’s greatest

composition, which will be discussed further on.

As already stated, these mid-period albums can all be regarded as being the

result of the same formula. For the joy of their fans Pink Floyd found a winning

recipe for their songs while they still worked with Barrett and exploited it in the

ears to come. DeRogatis (134) stresses that Barrett’s influence can be found

mostly in the importance Pink Floyd have always given to the songs, with their

innovative and poetic value. However, lyrics apart, also the adopted musical

style appears to be the logical continuation and evolution of a taste based on

Barrett’s artistic foundations. As a matter of fact, many fans, over the course of

the years, had claimed that Pink Floyd songs replicate most of the sensations

felt during an acid trip, but all band members always denied regular use of

psychedelics; Waters himself admitted that he took the LSD drug only twice in

his lifetime. The becoming symbols of the “acid generation” was of course an

inheritance of the Syd Barrett era, strongly substantiated by the genre they

played, but the band surfed on their image without giving into it and without

giving much importance to the label society had given them. One of the

reasons why they distanced themselves from drug abuse, may be the

witnessing of the effects on their former frontman.

After the parting, Syd Barrett was not left alone. His managers stood by his side

and organized recordings starting from May 1968, only a month after the official

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announcement that put him out of the band, calling in Jerry Shirley, drummer

for Humble Pie Willie Wilson and The Soft Machine. The recordings were often

interrupted for various reasons and Barrett never seemed to be in stable

psychological conditions, but a year later, when the recording resumed after a

long pause, some of his former bandmates Waters and Gilmour, took over the

production and even joined him to add some finishing touches. In January 1970

The Madcap Laughs is released. Even though the audience was expecting

compositions about estrangement, deception and loneliness, an assumption

only strengthened by the disturbing cover, depicting Barrett crouching near a

vase in the middle of an empty room, the album is surprisingly upbeat and light-

hearted. Sinister references to Barrett’s state of mind are only sporadic, but

when they appear, they are evident and disturbing. The acoustic love song

Terrapin appears like an ordinary song about innocent love, however the

guitars are often out of tune and there are several unsettling pauses throughout

the song, mirroring the unstable states of mind schizophrenia often brings with it.

Even the lyrics suggest that there is more obsession than orderly in the

described relationship:

I really love you and I mean you

The star above you, crystal blue
Well, oh baby, my hair's on end about you
I wouldn't see you and I love to
I fly above you, yes I do
Well, oh baby, my hair's on end about you

Floating, bumping, noses dodge a tooth, the fins aluminous

Fangs all 'round, the clown is dark, below the boulders hiding all
The sunlight's good for us
'Cause we're the fishes and all we do
The move about is all we do
Well, oh baby, my hair's on end about you

Floating, bumping, noses dodge a tooth, the fins aluminous

Fangs all 'round, the clown is dark, below the boulders hiding all
The sunlight's good for us
'Cause we're the fishes and all we do
The move about is all we do
Well, oh baby, my hair's on end about you

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 I really love you and I mean you
The star above you, crystal blue
Well, oh baby, my hair's on end about you

There appears to be a verse/chorus structure, but it is not clear. Several portions

of the song are repeated more than once, but it is difficult to identify a chorus.

Here, Barrett tries to write a love song, but all he is able to do is to repeat the

same sentences over and over, in the maniacal attempt to impress the loved

one. The metaphors and imagery he uses are also not helpful in a potential

seduction. Indeed, all the used images portray the couple isolated and

detached from the world: first they are floating, then there are fangs all around,

then they are depicted as fishes who only move about in their entire existence:

it appears that Barrett’s issues are evident even in his love songs.

Dark Globe is perhaps the most sinister composition of the album.

Characterized by a chaotic, irrational instrumental track provided by a heavily

shredded acoustic guitar which shows no intention of following a pattern, it

resembles in style a ballad written by a singer-songwriter but unfolds itself as a

painful two-minute-long plead for help. Barrett is inconsistent in his singing,

accelerating and slowing down randomly as he howls pain-brimming words,

forcing the guitar to adapt to his irrational, schizophrenic rhythmic patterns:

Oh, where are you now?

Pussy willow that smiled on this leaf
When I was alone
You promised a stone from your heart

My head kissed the ground

I was half the way down treading the sand
Please, please lift a hand
I'm only a person whose armbands beat on his hands
Hang tall, won't you miss me?
Wouldn't you miss me at all?

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 The poppy bird's way
Swing twigs coffee brands around
Brandish her wand with a feathery tongue

My head kissed the ground

I was half the way down treading the sand
Please, please, please lift a hand
I'm only a person with Eskimo chain
I tattooed my brain all the way

Won't you miss me?

Wouldn't you miss me at all?

There appears to be a chorus in the song, repeated twice with an alternate

ending, and all other portions of the song are much shorter in length. Apart

from the second and third line in the chorus, there is also a complete disregard

of rhyme scheme, underlining the dark, grim, chaotic atmosphere of the lyric. In

this song, the anguish is not only apparent, it is close. There is no crescendo in

the song, Barrett’s voice sounds squeaky and desperate from the first word,

making the song a solid, continuous two-minute portrayal of pain and

restlessness.

The album did not turn out to be a great success, but it was satisfactory. Barrett

himself liked his work, but in a moderate fashion. Many fans were pleased,

others very disappointed especially when considering that such a rough

recording was produced by Waters and Gilmour. Barrett appeared on stage

only once after his Pink Floyd period, in 1970 at the Kensington Olympia Station,

but after performing very poorly the first few songs of the show, in which his

vocals were not even amplified, he walked off the stage.

In any case the sales were strong enough to issue the recording of a second

album, which began almost immediately, this time produced by Gilmour and

Wright. Despite the many difficulties that the working with a fragile mind bears

with it, the album Barrett was swiftly recorded and released in the same year,

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featuring acoustic songs as well as more pop oriented compositions which bear

very close resemblances, in style, to the first Pink Floyd single the one he had

written years earlier: Arnold Layne. One of those is undoubtedly Gigolo Aunt, a

carefree composition which gushes with positivity:

Grooving around in a trench coat with a satin entrail

Seems to be all around - it's din - and the pale we pale
Jiving on down to the beach to see the blue and the grey
Seems to be all on, it's rosy, it's a beautiful day

Will you please keep on the track 'cause I almost want you back
'Cause I know what you are, you are a gigolo aunt
You're the gigolo aunt
Yes I know what you are, you are a gigolo aunt
You're the gigolo aunt

Heading on down with the light, the dust in your way

She was angrier there, than her water-shell mail
Life - to this love - to me, heading me - down to me, thunderbird shale
Seems to be all on, it's rosy, it's a beautiful day

The sound in this song is more modern, polished. Despite showing no signs of

improvement, Barrett’s voice appears healthier to the listener and the

abandoning of the extreme double-tracked vocal recording technique makes

the voice sound closer and more human, but the song feels out of place on the

album. The message that comes through is not one of recovery or positivity, but

much rather a desperate attempt to appear normal. Moreover, the

instrumental track of the song was not even produced by Barrett. He was

merely given the composition to write the words for, therefore the credit for the

song’s positivity and carefreeness is not even Barrett’s. When listening to the

album, the discrepancy is evident, however, the lyrics show that Barrett’s

humour and skill with wordplay were still intact in the artist.

The darkest entries in this album are the songs Dominoes and Rats.

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It is hard to figure out what Dominoes is about, but the words are unusually full

of hope. It also gives the listener a peek into what the Floyd could have

sounded like if Barrett remained in the formation:

It's an idea, someday

In my tears, my dreams
Don't you want to see her proof?
Life that comes of no harm
You and I, you and I and dominoes, the day goes by...

You and I in place

Wasting time on dominoes
A day so dark, so warm
Life that comes of no harm
You and I and dominoes, time goes by...

Fireworks and heat, someday

Hold a shell, a stick or play
Overheard a lark today
Losing when my mind's astray
Don't you want to know with your pretty hair
Stretch your hand, glad feel,
In an echo for your way.

It's an idea, someday...

It's an idea, someday

In my tears, my dreams
Don't you want to see her proof?
Life that comes of no harm
you and I, you and I and dominoes, the day goes by...

The pattern in Syd Barrett songs is that there is no pattern. Again, it is difficult to

tell whether the structure of the lyric can be described in the verse/chorus

fashion, since there are several repeated sections, and they are repeated

randomly. The depicted images and atmospheres, however, are surprisingly

peaceful. The song could be a prediction or a wish for his own future: a calm

prospect in which he and his interlocutor, in a not so distant future, could be

spending the days wasting away playing dominoes. Barrett’s present, full of

tears and dreams is strongly opposed to the future he envisions for himself, far

from the spotlight, leading a simple life. The stanza in the middle of the song

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even describes very ordinary situations, from which the author imagines to draw

bliss through the presence of his interlocutor, it is the description of a need for

simple pleasures, which were apparently absent in Barrett’s life. The message

that emerges is that the author ultimately only wants to turn away from the

complications of his art and lead a simple life. It was his success and the music

industry who led to his mental breakdown, and even after leaving Pink Floyd

the business was still employing his work to make money. The lyric can be

regarded as a veiled letter of resignation, contained in the last album Barrett

ever recorded.

Rats, on the other hand, features paranoid and creepy imagery, depicting

various delirious visions and senseless rants, which are the closest the album gets

to the image that Barrett and his team used for the cover of the CD, a wall

covered in insects. This is probably the most interesting, unconventional and

experimental approach to lyric writing Barrett has ever adopted, and

simultaneously the closest and most lifelike depiction of his state of mind in

those years. Here, he seems to be uninterested in conveying a meaning

through sentences, but tries to do so with mere words and sounds, succeeding

in the intention of unsettling the listener without actually saying anything at all. It

may be regarded as his own personal attempt of writing a stream of

consciousness for music:

Got it hit down

Spot knock inside a spider
Says: "That's love yeah, yeah, yeah, yeah, yeah, yeah!"
"That's love yeah, yeah, yeah, yeah, yeah, yeah!"
Says: "That's love - All know it
TV, teeth, feet, peace, feel it
"That's love yeah, yeah, yeah, yeah, yeah, yeah!"
"That's love yeah, yeah, yeah, yeah, yeah, yeah!"

Like the fall that brings me to

I like the fall that brings me to
I like the cord around sinew
I make a cord around sinew
80
 Duck, the way to least is less
Tea craving of the metal west
'Ell tomorrow's rain and test
'Ell tomorrow's rain and test
Love an empty son and guess
Love an empty son and guess
Pimples dangerous and blessed

Heaving, arriving, tinkling

Mingling jets and statuettes
Seething wet we meeting fleck
Seething wet we meeting fleck
Lines and winds and crib and half
Each fair day I give you half
Of each fair day I give you half
I look into your eyes and you,
Flathe in the sun for you...

Bam, spastic, tactile engine

Heaving, crackle, slinky, dormy, roofy, wham
I'll have them, fried bloke
Broken jardy, cardy, smoocho, moocho, paki, pufftle
sploshette moxy, very smelly,
Cable, gable, splintra, channel
Top the seam he's taken off

Rats, rats lay down flat

We don't need you, we act like that
And if you think you're un-loved
Then we know about that...
Rats, rats, lay down flat!
Yes, yes, yes, yes, lay down flat!

Barrett’s passion for onomatopoeias returns, as well as the recurring unclear

structure and random repetitions. The first part of the song is a discussion about

love, in which the artist seems to lose himself in an attempt of describing the

feeling. Afterwards, he seems to lose himself completely and hurls himself into

what appears to be a random disturbing rant.

After the release of this album, Barrett cut most contacts with music. His studio

sessions were almost immediately aborted and his artistic efforts were sporadic

and not worthwhile. However, upon retiring from the scene, his fanbase

blossomed, and even today there are thriving internet newsgroups who collect

and discuss every scrap of music Barrett has left behind. To most, Barrett was
81
and still is a genius. Despite having his mind clouded by drugs, he was

nevertheless able to take advantage and make big show of his talents: a gifted

and imaginative guitarist with brilliant innate melodic sensitivity on the one

hand, and a skilled poet on the other. When looking at his writings, it can be

argued that most of his compositions, even those which at first glance seem

more impenetrable, resemble more an outcome of attentive Joyce or Blake

reading than the desultory muttering of a drug addict. It is impossible to

determine in what manner and to what extent psychedelics influenced the

work of Syd Barrett, but it is quite safe to state that his downfall depended

mostly by the abuse of hallucinatory substances. The rest of the Floyd

dedicated much of their subsequent work trying to understand and express

what corrupted their friend, whether it was the drugs, or money, fame, or if it

was simply madness which made him drop out of the society which,

conversely, was easy for the rest of the band to fit into.

In 1971 Pink Floyd started to write their catchiest and probably most significant

album, The Dark Side of the Moon, which was recorded in the following years

and released in 1973, even though many of its songs were performed live also

earlier. The band had been reworking themes they had already used, but had

never quite interpreted as effectively as in this record providing them with

outstanding guitar and synth solos, solid and inventive drumming and

memorable vocals. There was a more pop—song approach in the writing of the

music, since there are few remnants of the long instrumentals of the past.

Moreover, Abbey Road’s new, sophisticated 24-track tape recording machines

turned out to be perfect for the clean recording of complex arrangements,

providing an unmatched sound quality for the time. There is even space for a

quartet of backing singers and some saxophone solos by Dick Parry, as well as

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Clare Torry’s memorable performance in the no-lyric vocal solo The Great Gig

in the Sky. From the lyrical point of view, Waters outmatches his former self by

leagues in his writing. Once again, DeRogatis (140) is not afraid to say that the

album betters earlier concept albums, “Waters reveals himself as a romantic

and a pessimist. He believes that the need to care for and be cared for by

others is what makes life meaningful”, even though interpersonal interactions

are difficult or even impossible. Precisely this is the message of the album. The

songs try to depict many of the factors that alienate human beings and make

them estrange from one another, often giving rise to isolation and madness.

Waters’ lyrics are aided by a series of interviews the band conducted with

people who responded unusual and controversial questions, such as “What do

you think of death?”.

Money is an upbeat track with a surprising odd time signature. It opens up with

a loop of money related sound effects which will accompany the song until its

end:

Money, get away

Get a good job with more pay and you're okay
Money, it's a gas
Grab that cash with both hands and make a stash
New car, caviar, four star daydream
Think I'll buy me a football team

Money, get back

I'm all right Jack keep your hands off of my stack
Money, it's a hit
Don't give me that do goody good bullshit
I'm in the high-fidelity first class traveling set
And I think I need a Lear jet

Money, it's a crime

Share it fairly but don't take a slice of my pie
Money, so they say
Is the root of all evil today
But if you ask for a raise it's no surprise
That they're giving none away

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The song is composed of three stanzas which are identical in structure: the

metric pattern is precise and faithfully respected, as every syllable must match

the ¾ tempo signature of the song. The first and third line of every verse begins

with the same high-pitched shouted word “Money” which clearly serves as

hook. The song is rich with internal rhymes as, for instance, in every second line

of each stanza, a feature which closely resembles the practice of the London

East End rhyming slang, which is often associated with criminals and contributes

to the comical tone of the song. The theme of money is confronted with sharp

sarcasm and playfulness, and closer analysis of the lyric proves that it is true.

Money is depicted as volatile, but also as closely connected to pleasure and

enjoyment. Even the first few lines communicate that it is the easiest if not the

only way to reach social acceptance. Averame (2008) even writes that lines

like “Think I'll buy me a football team” were to be considered absurd

hyperboles, since the purchase of a football team should have been impossible

for a rockstar, however, Elton John proved them wrong few years later when he

bought the Watford Football Club, giving the song somewhat of a prophetic

overtone. The last stanza mocks the very common paradox of hypocrisy which

encloses the idea of money: it is the root of all evil, but everyone is reluctant to

let go of his goods. “So they say” is the key to understanding the irony of the

conclusion: even the author is not able to admit that he agrees with the

statement. The song gives a great sarcastic definition of greed, but it is

interesting to notice how it also describes one of the possible reasons for Syd

Barrett’s alienation.

Intriguingly, the track that follows deals with incommunicability and isolation. Us

and Them is the longest song of the album, with slow jazzy undertones perfect

for hosting the memorable saxophone solos. At first glance, the lyrics also

84
appear light-hearted, but the calm, harmonious mood of the song can

scarcely hide the uneasiness which lies at their roots. The bold part of the text is

an excerpt from an interview with Roger Manifold, the band’s roadie.

Us and them
And after all we're only ordinary men.
Me and you
God only knows it's not what we would choose to do.

'Forward' he cried from the rear

And the front rank died.
The general is sat and the lines on the map
Move from side to side.

Black and blue

And who knows which is which and who is who.
Up and down
And in the end it's only round and round. And round.

'Haven't you heard it's a battle of words'

The poster bearer cried.
'Listen son' said the man with the gun,
'There's room for you inside.'

Well I mean, they're gonna kill ya, so like, if you give 'em a quick
sh...short, sharp shock, they don't do it again. Dig it? I mean he got off
light, 'cause I coulda given 'im a thrashin' but I only hit him once. It's only
the difference between right and wrong innit? I mean good manners
don't cost nothing do they, eh?

Down and out

It can't be helped but there's a lot of it about.
With, without.
And who'll deny it's what the fighting's all about?

Out of the way, it's a busy day

I've got things on my mind.
For want of the price of tea and a slice
The old man died.

The first stanza sets the tone for the song without going into detail, but the

second stanza abruptly changes the setting and brings the listener to a

battlefield in the middle of the action, a stanza much opposed to the calm

tones of the song, creating a strange effect. The “us” and the “them” assume a

war-like meaning, but the two closing lines of the stanza reveal that the tides of

85
the massacre, as well as its motive, lie not in the hands of the soldiers, but the

aseptic, cold decisions of an anonymous general. Every stanza begins with the

juxtaposition of opposing factors: while the first begins with “us and them”, the

second and third with “black and blue” and “down and out”. In them,

Averame (2008) reads a dislocation of the lyric I, a portrayal of the confused

identity crisis of all those who obey orders without knowing why. The boy

assumes it is a battle of words, but the man with the gun knows better, and

leads the poster bearer to safety, leaving him in his ingenuity. Following these

premises, the song could be regarded as an anti-war manifesto, but some

argue that there is more to it, and that war is only a metaphor. The songwriter

composed a sort of elegy, in which he confronts the issue of the divisions that

often emerge between people: the finding themselves divided by a barrier

without knowing how they got there.

It would be wrong to mindlessly assume that these lyrics are about the band’s

ex-frontman and his past, however it would be equally wrong to deny every

connection. It is quite safe to say that Barrett was very close to the other band

members and powerlessly losing sight of a person who has been more than a

friend is a difficult ordeal to endure. Therefore it would be quite expected for an

artist to explore such significant experiences in his work. Even though, when

speaking of this album, these are bound to remain conjectures, it is quite safe to

say that the following album, Wish You Were Here, can be regarded as a

tribute to their ex-bandmate.

As a matter of fact, after the release of The Dark Side of the Moon, the band

had to cope with the difficult task of keeping up with the incredible quality of

the record. The 1973 album had awarded the band with world fame, and the

band became a money-making legend. But Pink Floyd reacted incredibly well

86
to the immense success, and delivered an album which did not disappoint the

astonishingly high expectations. Wish You Were Here was recorded and

released in 1975, at the end of the psychedelic decade which is object of this

dissertation. Once again, the topic of most of the lyrics is the pointlessness of

communication, and some even argue that there is a strong reference to the

evils of the music industry and its false promises. Have a Cigar goes as follows:

Come in here, dear boy, have a cigar.

You're gonna go far, fly high,
You're never gonna die,
You're gonna make it if you try;
They're gonna love you.
Well I've always had a deep respect,
And I mean that most sincerely.
The band is just fantastic,
that is really what I think.
Oh by the way, which one's Pink?

And did we tell you the name of the game, boy,

We call it Riding the Gravy Train.

We're just knocked out.

We heard about the sell-out.
You gotta get an album out.
You owe it to the people.
We're so happy we can hardly count.
Everybody else is just green,
Have you seen the chart?
It's a helluva start,
It could be made into a monster
If we all pull together as a team.

And did we tell you the name of the game, boy,

We call it Riding the Gravy Train.

The song is composed by two long stanzas, and there is a refrain couplet at the

end of each. The lyrics are a monologue of a record label manager who

speaks to a mute artist in two different times: at the beginning of his career and

upon discovering the high sales he made with his first outing. It depicts how

artists are easily seduced, then deceived and exploited, and recent history had

given the Floyd much material to prove their message right, such as the Brian

87
Wilson incident, or more closely, the Barrett affair, in which the mentally

unstable songwriter was led to recording of two albums despite being severely

challenged. The critique is bitter and sharp, but there is a certain degree of

irony to the song which loosens up the atmosphere. It is not hard to imagine the

tycoon which is the protagonist of Money sitting behind the desk, rattling off a

variety of clichés and stereotyped phrases: empty flatteries which soon assume

the material form of a cigar, another empty gesture which aims to seduce and

put the freshly produced rockstar at ease. All these words and actions,

however, can hardly hide the great lack of interest the producer has with

regards to every human and artistic aspect of the musician. The ending of the

second stanza, in which the producer remarks the fact that they are a team, is

permeated with sinister irony: the seemingly brotherly phrase is uttered by a

character with no interest whatsoever in values of teamwork and synergism

and is moved only by greed. Moreover, the song was written in a low moment

of the band, in which the members appeared to be more motivated by the

squash matches between the studio sessions than the studio sessions

themselves, with hardly any interest in the common artistic effort, but aiming

only to please the record label.

The music industry is also referred to as a machine. In Welcome to the Machine,

there is more sharp criticism in regard to the music industry, which is described

as a money-making organization with no respect for artistic expression. The

lyrics can be interpreted as a sad welcome the experienced band gives to a

newcomer to the music business, unaware of the humiliating things to come.

Welcome my son, welcome to the machine.

Where have you been?
It's alright we know where you've been.
You've been in the pipeline, filling in time,
Provided with toys and 'Scouting for Boys'.
You brought a guitar to punish your ma,

88
 And you didn't like school, and you
Know you're nobody's fool,
So welcome to the machine.

From this text it appears as though the songwriter also subtly addressed his

criticism to the new wannabe musicians, who think they are special, but are

roughly all the same, as the various teenage clichés of the musician’s past in

the first stanza show. Here, the focus is on the obscure and estranging

mechanism which controls the life of a rockstar, in which the dreams of glory

and of exclusivity are merely empty, serial, impersonal and prefabricated

patterns. The first few lines immediately set the tone of the song: the voice is the

one of a paternalistic omniscient interlocutor, which makes clear that the

mechanism of the “machine” is hopelessly out of reach, that it follows a

predestined pattern and that it has very old origins. The dream of glory in the

music business is presented like a choice, but the truth is that it is the opposite:

the protagonist of the song will undoubtedly be a link in the chain, like all his

predecessors, and his visions of rebellion and nonconformity will be drowned in

the sound of the cheering crowd which closes the curtains for the song.

The most famous track of the album is the catchy, folk-inspired title track; most

critics, however, agree that the masterpiece of this album is Shine On You Crazy

Diamond, which is openly a tribute to their friend Syd Barrett, who is referred to

as “painter, piper, prisoner and martyr”. It is probably the most gripping of all

the Pink Floyd suites, featuring captivating rock sections as well as elegant

symphonic arrangements in its twenty-five minutes of duration, for a total of

nine parts (most of which instrumental).

Remember when you were young,

You shone like the sun.
Shine on you crazy diamond.
Now there's a look in your eyes,
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 Like black holes in the sky.
Shine on you crazy diamond.
You were caught on the crossfire
Of childhood and stardom,
Blown on the steel breeze.
Come on you target for faraway laughter,
Come on you stranger, you legend, you martyr, and shine!

You reached for the secret too soon,

You cried for the moon.
Shine on you crazy diamond.
Threatened by shadows at night,
And exposed in the light.
Shine on you crazy diamond.
Well you wore out your welcome
With random precision,
Rode on the steel breeze.
Come on you raver, you seer of visions,
Come on you painter, you piper, you prisoner, and shine!

Nobody knows where you are,

How near or how far.
Shine on you crazy diamond.
Pile on many more layers
And I'll be joining you there.
Shine on you crazy diamond.
And we'll bask in the shadow
Of yesterday's triumph,
And sail on the steel breeze.
Come on you boy child,
You winner and loser,
Come on you miner for truth and delusion, and shine!

It is impossible to find a pattern in the structure of the lyrics, since the text

stretches over several sections of the song and must match their rhythm. Barrett

is compared to a black hole: a sun which collapsed shortly after shining the

brightest of its existence, and is now only a vortex of emptiness and negative

energy. The fourth and fifth line recount the time in which the band members

helplessly witnessed how the magnetic look of Barrett’s eyes was gradually

being replaced by an empty stare. There is also a symbolic portrayal of the

years the e-frontman spent in fame and glory, always looking somewhat out of

place, like a stranger in a world that he cannot recognize despite his genius. He

is symbolically represented by a crazy diamond, and there is an exhortation to

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shine on, expression of, according to Averame (2008), a well-aware and tragic

irony. Waters also probably implies that Barrett found the secret of creativity

and reached for it too soon, but got burned by this very action and became

victim of his own inner demons and shadows, who “threatened him at night”,

and exposed him to the (spot)light. “You wore out your welcome” can be

regarded both as an admission of guilt and its cathartic opposite, as it is

probably referred to the decision of putting him out of the band, a choice

which had undoubtedly brought a fair deal of remorse. “Random precision”

can be viewed as Waters’ way of describing Barrett’s instinctive genius, and

“Painter” probably refers to Barrett’s original vocation. The lyrics paint a

romantic image of the fallen artist and his downfall. A notable artistic effort to

give dignity to an artist that seemed to have fallen from grace in an excessive

manner, in the eyes of the public, and a composition of great poetic value.

Despite what had become of the former Floyd frontman, the band showed

great affection and consideration for their former leader. Barrett even

appeared in the studio during the recording sessions of the album, overweight

and with shaved head and eyebrows, indulging in very odd behaviours. Even

his friends struggled to recognize him, as he assisted the recording of the vocals

of a song that was about him. Only after 45 minutes, Wright stated in an

interview for Source (Kendall, 1984), they realized who that “huge, bald, fat

guy” was, who had been silently walking around the studio without even

speaking to his old friends.

Since then the band and its former leader have hardly crossed their paths

again. Until 2006, when he passed away, Barrett has rarely been seen on public

occasions and the romantic image all fans are likely to have of him in his last

years are of an aged artist and hermit, who sits alone in his house, pondering on

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his life and on how he opened the doors of perception when he was young. But

it is more likely that he spent them occupied in the little diversions ordinary

retired people are used to, maybe occasionally painting, or strumming some

notes surrounded by his guitar collection.

PROGRESSIVE ROCK COLLABORATIONS: PETER SINFIELD AND KING

CRIMSON

Experimentation after experimentation, the newly found complexity in the

writing and arranging of songs starting from the mid-sixties took on several

different paths. Especially in Britain, musicians seemed to go on a quest for

original, different approaches to rock music, leading to various, disparate, and

quite surprising results. In a dissertation about the poetic value of song lyrics, the

worthiest of mention among these genres is undoubtedly the progressive

branch of the rock tree. Several musicians in Britain felt like it was necessary to

take advantage of the psychedelic wave, which was increasing credibility and

artistic depth in rock music, and take the experimentation to a higher level. As

a matter of fact, critics believe that the roots of progressive rock lie in the first

psychedelic albums of the Beatles or the Beach Boys, such as Sgt. Pepper’s

Lonely Hearts Club Band or Pet Sounds, which pioneered the ideas of lyrical

unity, complexity and sound innovation, and which demonstrated that a well-

constructed LP could be regarded as more valuable than a single, from the

artistic point of view. Prog-Rock brings these ideas to the extreme, with the

objective of shedding new light on the genre and display it as richer, more

respected and valuable than ever before, appealing even for the highest

spheres of society. On the practical point of view, prog bands discarded the

ideas of pop-like brevity, simplicity and danceable rhythm of classic rock,

opting for a greater sophistication in the rhythmic, harmonic, structural and

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lyrical structure and performance, inspired by both jazz and classical music, but

with virtually no stylistic boundaries. Sections of the same song vary drastically in

their form and are often joined together by protracted instrumental bridges,

resulting in extended compositions which closely resembled classical suites and

not rarely reached exaggerated durations. Unusual instruments were often

added to the formation, and musicians in general were extremely skilled in

order to be able to perform the complicated arrangements of the songs, which

often featured rapid instrumentations, odd time signatures and swift changes in

rhythm and key.

These characteristics were a consequence of good intentions, however,

despite the motives, the genre never reached the mainstream market, limiting

itself to the fruition a relatively narrow public. Critics often scolded progressive

bands for being too pompous, pretentious and overcomplicated in their artistic

efforts, and for having lost the simple, celebrated appeal rock had been

famous for. This strive for assertion in their own “new” art is not a novelty:

DeRogatis (2006, 170) suggests that most psychedelic and progressive rock

enthusiasts and musicians were “upper-middle-class kids who discovered rock,

drugs and the London nightlife and dropped out of college and art school.”

The achievement of their musical idols in those years starting from the release of

Rubber Soul showed them how they could craft art which was just as serious as

the art they had been studying, but with modern music giving them the

possibility to express their artistic pulsations through a channel they felt more

connection with, without giving up on the degrading social picture of a school

dropout. Throughout his book Listening to the Future: The time of progressive

rock, 1968-1978 Bill Martin seems to be able to identify the five characteristics of

prog, as summarized by DeRogatis (2006, 170): 1) It is visionary and

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experimental. 2) It is played, at least in part, on instruments typically associated

with rock. 3) It is made by musicians who have consummate instrumental and

compositional skills. 4) At its core it is a very English phenomenon. 5) It is

expressive of some longstanding romantic and prophetic aspects of British

culture, which could explain the strive for originality, authenticity and personal

expression found in the work of most prog bands.

When speaking of lyrical quality, progressive rock is worthy of mention because

of the different approach to the writing of the words. As a matter of fact, the

ideals that led musicians to the composing musical creations of supposedly

higher aesthetic value, had repercussions also on the writing of the song lyrics,

which, obviously, had to match the instrumentals with their artistic power: Prog

songwriters discarded most themes which were common to mainstream music

and songs directed to a young audience such as love, rebellion, partying,

violence or sex, and turned to more complicated themes such as elaborate

social criticism or awareness of nature. But most importantly it was not

uncommon for a band to collaborate with a poet or professional lyricist. Lyricist

Keith Reid worked with English band Procol Harum, writing the lyrics for every

song in the band’s history or Betty Thatcher is the pen behind most of London-

based Renaissance’s lyrics. The most acclaimed amongst these collaborations

is surely the one between the early King Crimson and poet Peter Sinfield, and

the roots of this collaboration can be traced back to the very origins of the

band. Before King Crimson there was only The Giles, Giles and Fripp trio, which

included three of King Crimson’s founding members: Robert Fripp and the Giles

brothers Michael and Peter. After spending few months composing mildly

successful music in 1967, the trio decided to extend the boundaries of their

formation and include Ian Mc Donald and Judy Dyble. It was in this context of

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renovation that McDonald decided to bring with him Sinfield, who was part of a

fairly unsuccessful band, but attracted much attention with his texts. The band

started working on their first album and released In the Court of the Crimson

King in 1969. Both the album’s and the band’s name can be traced back to

the first song Sinfield had written with the band: The Court of the Crimson King:

The rusted chains of prison moons

Are shattered by the sun.
I walk a road, horizons change
The tournament's begun.
The purple piper plays his tune,
The choirs softly sing;
Three lullabies in an ancient tongue,
For the court of the crimson king.

The keeper of the city keys

Puts shutters on the dreams.
I wait outside the pilgrim's door
With insufficient schemes.
The black queen chants the funeral march,
The cracked brass bells will ring;
To summon back the fire witch
To the court of the crimson king.

The gardener plants an evergreen

Whilst trampling on a flower.
I chase the wind of a prison ship,
To taste the sweet and sour.
The pattern juggler lifts his hand;
The orchestra begin;
As slowly turns the grinding wheel
In the court of the crimson king.

On soft grey mornings widows cry,

The wise men share a joke.
I run to grasp divining signs
To satisfy the hoax.
The yellow jester does not play
But gently pulls the strings
And smiles as the puppets dance
In the court of the crimson king.

Even though the verse-chorus form is not common in progressive rock songs, this

composition is characterized four stanzas with the same structure, performed

with different intensity. All are equal in length 8 lines, and end with what could

be regarded as the refrain and hook of the song, which gives it its title. It can be
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argued that the true hook of the song, however, is the peculiar mellotron and

guitar riff which recurs in the entirety of the song. There is a long instrumental

section called The Return of the Witch which divides the verses and stretches

the song to more than nine minutes in length. Even starting from this first

composition it was clear that Sinfield was very skilled with the use of sounds.

Apart from his great interest in the creation of new synthesizer sounds, the

writer’s fondness of playing with the sounds of language is evident, as the

alliterations (such as the purple piper plays, line 5) and the competently crafted

rhymes show. Each word appears to have been carefully chosen for the effect

of its sound on the listener, and their skilfully organized order renders the metric

rhythm of the lyric pressing and upbeat. This approach can be found on all

tracks of the album, however, worthy of mention is the opening track 21st

Century Schizoid Man which counts as one of the band’s most successful songs

to date:

Cat's foot iron claw

Neuro-surgeons scream for more
At paranoia's poison door.
Twenty-first century schizoid man.

Blood rack barbed wire

Politicians' funeral pyre
Innocents raped with napalm fire
Twenty-first century schizoid man.

Death seed blind man's greed

Poets' starving children bleed
Nothing he's got he really needs
Twenty-first century schizoid man.

The structure of the song bears resemblances with the above-mentioned

closing track of the album The Court of the Crimson King. The stanzas are only

three and are composed by four lines each, however, the closing line of every

stanza is always the same, and it is the line which gives the track its title. Every

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stanza bears the same structure and there is a pattern also in the presentation

of the images: The first line, composed by mono- and disyllables, always depicts

two fairly hazy pictures, and the words appear to have been chosen not merely

for their meaning, but for their hard sounds. The second and third (Keeling,

2000) rhythmically less intense lines can be regarded like somewhat of a focal

adjustment as more clarity is brought to the situations before culminating in the

sharp, judgemental line “21st Century Schizoid Man”. The song paints a handful

of disturbing images in which many have recognized strong references to the

Vietnam War (e.g.: Politicians' funeral pyre/Innocents raped with napalm fire).

“Schizoid” refers to a personality disorder that causes those who suffer from it to

become apathic and disconnected, and to isolate themselves in their own

imaginary world, distant from all that is real. The writing of a song with sharp

social criticism using the term “schizoid”, therefore referring to mental illness,

was a significant provocative gesture. The hazy nature of the verses, along with

the reference to a century that had not started yet, reminds greatly of

prophecies: divine messages communicated to the people by a prophet.

Ambiguity and indistinctness were the most relevant characteristics of such

messages, and Sinfield appears to act like a modern-time prophet and

compose his own prediction of the future. A future where the horrors of war

appear to have deprived human beings from their innocence and sanity. Later

during a 1969 live concert, the band openly admitted that the song was

dedicated to Spiro Agnew, former US vice president, rendering the critique

more directed and acute.

Sinfield had always been a specialist in using baroque, surreal imagery,

therefore he was the perfect fit for a progressive rock band, which relied on

such style for the writing of their songs. Critics believe that it was precisely this

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album which brought prog to success and started the avalanche which would

have grown in the following years. In the Court of the Crimson King is still one of

the most influential records , with its poetic lyrics and symphonic arrangements

which somehow never felt pretentious or out of place. The collaboration with

Sinfield was a very productive one, and the band noticed and took advantage

of it immediately, releasing three albums in the following two years: In the Wake

of Poseidon, Lizard and Islands.

The band’s entire history is filled with drastic changes in line-up and personnel,

with exception of guitarist Robert Fripp, heart and soul of the band. While

musicians and singers shifted and replaced each other, Fripp and Sinfield

worked hard together on the writing of the songs, and did so denying most

interventions of other artists in the composing stage of the albums’ productions.

After Islands, however, even Sinfield turned away from King Crimson, and lyricist

and guitarist Richard Palmer-James took his place.

In the Wake of Poseidon was received well by fans and critics alike. Despite the

first changes in the band’s personnel it retained the style of the debut record,

but with increased sound quality. Once again, Peter Sinfield’s contribution is

evident and precious. The mythical reference of the album title serves as

symbol for the issues in his present he addresses. Paraphrasing Green (2000),

Keeling (2000) states that “Peter Sinfield's lyrics, and cover concept, work on

multiple levels of meaning which are involved in the title, 'In the Wake of

Poseidon'. First, on the mythical level, following Zeus's and Poseidon's action in

the killing of Kronos who was intent on killing his children, peace ensued in the

Olympian kingdom. Secondly, the mythical dimension is brought up-to-date

with the protest from the 1960's sub-culture about Vietnam, and the reaction of

the preceding generation, sometimes violent, to this outcry.” Keeling suggests

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that Sinfield is linking the ancient mythical dimension with his recent past,

making expert use of complicated symbolism. Positioned on the album’s

beginning, middle and end are three sections of the song Peace, which guide

the listener through the album, providing a sort of fil rouge. At first glance, the

main theme appears to be the natural desire for peace inside every human

being, often hard to find. As a matter of fact, the last section contains a

paraphrase from the bible:

Searching for me
You look everywhere
Except beside you
Searching for you
You look everywhere
But not inside you

However, the considerations on the topic of peace stretch much further than

that. Green and Keeling (2000) have found the themes of equilibrium and

reconciling “between logic and emotion of Logos and Eros”. As a matter of

fact, on a more personal level, when an artist creates he is said to be forced

into a situation in which his thinking and feeling (Logos and Eros) must be

reconciled with each other. Some critics even noticed a reference to the Taoist

concept of Dao, dynamic principle expressed by the famous symbol in which

the yin (shadow, femininity) and the yang (light, masculinity) merge to form a

circle, each containing a piece -the origin- of the other, suggesting that all

differences and contradictions can be solved with the encounter of the

opposites. The first occurrence of the song, in the album’s opening, is sung in a

counter-tenor register, which can be interpreted as the feminine in the

masculine. Other instances in which the opposites are united can be:

Peace is the love

Of a foe as a friend
[…]
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 Peace is a man, whose breadth
Is the dawn
Peace is a dawn
On a day without end
Peace is the end, like death
Of the war

This interplay between yin and yang can be found also in the most acclaimed

of all lyrics in the album, Cadence and Cascade. The delicate and dreamy

undertones provide a perfect background for the story of two groupies,

Cadence and Cascade, who appear to have a relationship with rockstar Jade.

(Sinfield will dedicate another song to groupies, Ladies of the Road, in the

album Islands).

Cadence and Cascade

Kept a man named Jade;
Cool in the shade
While his audience played.
Purred, whispered, "Spend us too:
We only serve for you".

Sliding mystified
On the wine of the tide
Stared pale-eyed
As his veil fell aside.
Sad paper courtesan
They found him just a man.

Caravan hotel
Where the sequin spell fell
Custom of the game.
Cadence oiled in love
Licked his velvet gloved hand
Cascade kissed his name.

Sad paper courtesan

They knew him just a man.

When compared to other King Crimson songs, Cadence and Cascade is simple

and straightforward. There is an absence of refrains, which makes the text look

like a poem written for the page. The instrumentation is uncomplicated and the

time signature in plain 4/4, characteristics which compensate the previous track
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Pictures of a City and its hard, loud tones, as well as complicated structure.

There is no refrain in this song but a pattern in the rhyme scheme and the

overall rhythm can be found. Apart from the closing lines, each stanza begins

with a rhyming couplet, and in the first two verses all other lines rhyme as well.

The absence of the same scheme in the last stanza amplifies the sense of

disillusion that grows throughout the song. Green (2000) has argued that the

song is a symbol for the loss of the sacred dimension with regard to sex,, but

there is more to the song than that. Sinfield had always been fond of allegories,

and his choice for the names of the protagonists of the song is surely not a

random one. In musical terms, a cadence is a musical punctuation marking,

which signifies “close” or “climax”. Cascade evokes the image of flowing or

falling water. The two concepts meet onto the object of their desire: Jade,

symbolic for the light green stone that in Chinese alchemy has been emblem of

the Philosopher’s Stone. In other terms, the two almost ethereal, fluid, erotic

female figures are united onto the symbol of the hard rock, allegory of

manhood and virility, tempering its hardness and smoothing its surface. But,

once again, perfect harmony is only achieved with the merging of the

opposites: Cadence is regular rhythm, Logos, thought, Yang. Cascade is

uncontrolled energy, chaos, Eros, Yin.

Lizard appeared in 1970, and unveiled itself immediately as a very jazz-oriented

record. Again it was recorded by an almost wholly different personnel, but kept

the two usual artists as composers. Upon release, the album got mixed reviews,

and even Robert Fripp when asked about a retrospective on his work, reviles

the album sharply. Worthy of mention is the opening track, Cirkus.

Night: her sable dome scattered with diamonds,

Fused my dust from a light year,
Squeezed me to her breast, sowed me with carbon,
Strung my warp across time.
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 Gave me each horse, sunrise and graveyard,
Told me only I was her;
Bid ne face the east closed me in questions
Built the sky for my dawn

Cleaned my feet of mud, followed the empty

Zebra ride to the Cirkus,
Past a painted cage, spoke to the paybox
Glove which wrote on my tongue
Pushed me down a slide to the arena,
Megaphonium fanfare
In his cloak of words strode the ringmaster
Bid me join the parade

"Worship!" cried the clown. "I'm a T.V.

Making bandsmen go clockwork,
See the slinky seal Cirkus policeman,
Bareback ladies have fish."
Strongmen by his feet, plate-spinning statesman,
Acrobatically juggling
Bids his tamers go quiet the tumblers
Lest the mirror stop turning

Elephants forgot, force-fed on stale chalk,

Ate the floors of their cages.
Strongmen lost their hair, paybox collapsed and
Lions sharpened their teeth.
Gloves raced round the ring, stallions stampeded
Pandemonium seesaw
I ran for the door, ringmaster shouted,
"All the fun of the Cirkus!"

The song is composed by four equally long verses, each introduced by an

instrumental part. Even though the author played with many recurrent sounds,

there is no apparent rhyme scheme or metric regularity. There is no chorus or

hook to the song either, nor is there any potential chorus material. Instead, the

song appears to palpitate: every stanza rises to a climax and creates tension,

only to deflate in the instrumental part and rise again in the next stanza,

creating a sense of pulsation through the song until its cacophonous ending.

The rise is evident in the intensity of the performance, but upon closer

inspection even the metric rhythm of the lines appears to reflect the ascent,

favouring more delineated words and sharper sounds as the verse unfolds. It is

a powerful track, and Keeling (2000) regards it as a track about equilibrium,

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and, as a matter of fact, many images in the stanzas (especially when

approaching the chaotic climax of the song: the ending) convey a sense of a

dangerous, fragile balance, like “Strongmen by his feet, plate spinning

statesman, /Acrobatically juggling” or “paybox collapsed and /Lions

sharpened their teeth.”. This idea of balance is further underlined by its

structure, which, Keeling says, is “a musical metaphor: the idea of the circus,

included in Peter Sinfield's words, is further conveyed by the bi-

partite/symmetrical structural see-saw, which balances on the fulcrum of the still

centre. More than that many of the musical motives seem to have symmetry as

their basis, as well as rising and falling motion, which closely unifies the music

with the words even further.”.

Islands was released in 1971, and was recorded while touring, getting less

attention than its predecessors and receiving mixed reviews upon release. Of

the six songs on the record, only four are with lyrics, and three of them are

about women: Formentera Lady, a dark love story in which several critics have

recognized parallelisms with epic poems such as the Odyssey, The Letters, a

melodramatic tale of betrayal, in which a wife learns of her husband’s

disloyalties, and her subsequent death is portrayed like a martyrdom full of

baroque metaphors, and Ladies of the Road, ironic portrayal of encounters

with groupies, rich with sexual innuendos and metaphors, in which closer

inspection reveals a growing disgust with regards to the described dissolute

lifestyle.

The other lyric, which is also the title track of the album, is probably the most

memorable of the whole record. Islands is the last track of the album and

surprises the listener with its dreamy undertones and remarkable poetic

approach. The imagery is impressive, and the use of metaphors noteworthy: the

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morning mist is described as “dawn’s bride veil” and the sky as “heaven’s sea”.

Islands can be interpreted in many ways, but the message which is most

strongly conveyed appears to be one of hope. With his words, Sinfield seems to

try to assert that there is no hopelessness in isolation, and that there is no turning

away from sharing.

Earth, stream and tree encircled by sea

Waves sweep the sand from my island.
My sunsets fade.
Field and glade wait only for rain
Grain after grain love erodes my
High weathered walls which fend off the tide
Cradle the wind
to my island.

Gaunt granite climbs where gulls wheel and glide

Mournfully glide o'er my island.
My dawn bride's veil, damp and pale,
Dissolves in the sun.
Love's web is spun - cats prowl, mice run
Wreathe snatch-hand briars where owls know my eyes
Violet skies
Touch my island,
Touch me.

Beneath the wind turned wave

Infinite peace
Islands join hands
'Neathe heaven's sea.

Dark harbour quays like fingers of stone

Hungrily reach from my island.
Clutch sailor's words - pearls and gourds
Are strewn on my shore.
Equal in love, bound in circles.
Earth, stream and tree return to the sea
Waves sweep sand from my island,
from me.

Here, Sinfield seems to borrow and expand John Donne’s metaphor from the

text Meditation XVII (Donne, 1624), which sets off with the famous line “No Man

Is an Island”, and in which the author, close to his death, appears to make a

last call for communion and unity, suggesting that every citizen of the world

should learn from the misfortunes and hardships of others to learn how to make

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life better for all, and thus be better prepared for one’s own death. The

metaphor Donne uses for me, the island, is reworked in this song. Every

individual is compared to an island, isolated and alone, looking at the world

with detachment and passiveness like separated entities. However, the barriers

man creates (walls, cliffs, briars) are inevitably penetrated by what cannot be

seen or stopped (winds, tides, sailor’s words) and comes from other islands,

other people. Moreover, Sinfield appears to suggest how everyone is provided

with all that is needed to reach others (harbour quays, islands join hands). What

initially is metaphorically described as desperate loneliness gradually acquires

hope and positivity. The much feared erosion of the high weathered walls in the

first stanza becomes the sweeping of the sand in the last, sand which is lost in

the mare magnum of giving, of sharing, as the coasts of the lyric I’s island are

enriched with pearls and gourds, precious gifts from not-so-foreign-anymore

lands.

After the release of Islands, however, Fripp appeared to have grown tired of

Sinfield’s style, his baroque imagery and cryptic word choice, and started

despising his writing. Moreover, the many sexual references in the album had

given start to many polemics, and the guitarist did not need that sort of trouble

in his band. Once more, Fripp acted like an undiscussed monarch, and after

months of strained relationship he let Sinfield go. After that, in 1972, Fripp started

to work with other record labels and continued his work as lyricist, writing songs

for Roxy Music, PFM, Emerson, Lake & Palmer, Celine Dion and even releasing a

solo album. In more recent history, Sinfield turned to pure poems, and started

writing Haikus, form of Japanese poetry, an endeavour in which he, when

contemplating the past and the vibrant words of the artist, is not hard to

imagine.

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106
CONCLUSION

There is no real conclusion to this dissertation. It was only one among the many

attempts to shed some well-deserved light onto song lyrics as an academic

topic; it is not the first, and will certainly not be the last. However, it falls like a

drop in a bucket, whereas it should fall like a drop in the ocean.

The objective of this dissertation was not to provide insight on the social context

and consequences of psychedelics and psychedelic-induced music, which,

however relevant, were not the subject of this writing. It was the demonstrating

and unveiling of sensations, emotions pictures and situations translated into

sounds and words, which were without a doubt worthy to be written about. In

truth, in this essay it has been psychedelic rock, but there are countless artists

and genres which have enriched the poetic panorama with their contribution,

in sounds and lyrics, and which should be more widely contemplated and

analysed.

Both the art of poetry and the art of music are supported by an enormous

amount of theory, constantly updated year after year, but it is only a relatively

insignificant portion of this bibliography which treats song lyrics as poetry and

which studies and analyses words written for a song in the way poems written

for the page are studied. Schools and universities have rarely treated the music

of the last century with the attention depth and interest it deserves.

From the stylistic point of view, this lack of relevance is almost inexplicable.

When speaking of the study of literature, it is useless to deny the existence of a

need of understanding and explaining what is, essentially, beauty. Poetry is

analysed and explained in every possible way to students of all ages and has

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attracted countless academics and enthusiasts over the centuries who have

concentrated on the message and on the language of poems, in the effort of

understanding and explaining the beauty in them. Artists who equally make

skilful use of words, convey equally relevant messages and have equal if not

greater success on the public than the poets that are commonly studied, do

not find space on schoolbooks only because their words were set to music.

Moreover especially in the last century, social movements and important

collective ideologies were supported by extensive influential discography.

Works of art which fought for ideas and became symbols of movements and

historic events. Even the studying of history is incomplete with no mention of the

music of the time. For example when speaking of the Vietnam War, Literature

classes (rightfully) discuss Adrian Mitchell’s To Whom it May Concern, but

approach Lennon’s Give Peace a Chance only rarely or marginally.

Middleton (1990, 4) may provide an explanation for this phenomenon in the

very first pages of Studying Popular Music. Influential music of the 20th century

can with little doubt be regarded as “popular”, and as such, there are some

issues to deal with. Middleton argues that “popular” has to do with the vulgus,

the common people, and to describe something as “popular” may then have

the (depreciatory) implication that it is inferior or designed to suit low tastes.

There is no denying that such statement is often held true but it would be

equally wrong to assume that it is always the case, and history has often proven

this point. The term came across for the first time in the eighteenth century, and

it was used to describe the music of the bourgeois market. When something

was labelled as “popular”, it meant that it was good and worthy of note. It was

only later, in the 19th century, that the term began to define something

traditional, or as a synonym of “peasant” or “national”. In the 20th century the

108
term “folk” took over this meaning and “popular” became the word to

describe music with the following characteristics: Music of an inferior type, that

is not classifiable as “art” or “folk” or anything else, that is associated with a

particular social group (usually with young people) and that is spread by mass-

media in the mass market. There is no interest in academic field for analysing

with serious intent what is commonly regarded as belonging to a low-education

public. To a certain extent this is comprehensible but most fail to realize that it is

wrong to generalize. Assuming that a song which reaches great success owes

his breakthrough to the ignorance of its public is reductive and almost insulting

with regard to countless songwriters of past and present, and, of course, to

society in general.

109
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ACKNOWLEDGEMENTS

Few more words to say thank you to all those who have supported me in the

writing of these pages, but most of to all those who have made the last few

years unforgettable and precious. A big thank you goes to my family for their

undying patience and support: My father and mother for their love (And cash!

Don’t forget the cash!), Trippetto for the logistic support and Lollino for the

graphics on the cover. Another one goes to Patat, for constantly giving me

strength and motivation in the past few years. Worth mentioning are the many

friends and the care they have always taken of me: starting from the pals in

Bressanone, like Vale, Ele and Rossus, up to the everlasting faithful company in

Venice of people like Albrecht and Zanchi. Of course a special mention must

be reserved for the people involved in The Lads and Cababoz projects, who, in

addition to being loyal friends, have largely contributed to my development as

artist and musician, and who made it impossible for me to grow tired and

bored, ever.